Vertigo, dizzy. Use love (blind, superficial, old-fashioned) to construct or transform an old-fashioned detective or crime story. The most wonderful thing is a clever repetition and folding. Through folding and repetition, love with feedback Loops (feedback loops), the story begins to imitate/parody itself and leads to complete destruction. There is an imaginary space to stare at. In fact, it has nothing to do with violence. Everything is gentle, innocent, and even convincingly beautiful. The only problem is that Madeleine looks so real. Femme beauty is too lifelike, but the real Judy looks like a bad extra. The most interesting is the first half. As soon as the dilapidated door was pushed open, it turned out to be a grand, heavenly space, a flower house leading to other streets. A layer of mist appears under the lens, the colors are more vivid and noble, close to the sacred carnival of the stained glass of the church. The door to the gallery, the door of the church, the door of the cemetery. Every mysterious space is transformed so abruptly, people can't help but focus on the connection between reality and surreal. And those smooth connections are the hallucination space for the protagonist to think about the emperor. That space is his sacred space, filled with his desire and imagination, fear and heroic dreams of self-saving. Once broken, the jade and stone will be burned, completely destroyed, and there is no way to rebuild. The scene in the 2000-year-old forest was almost the hardest move to ascend the story. Madeleine stroked that huge annual ring, that was the moment when time was condensed in a cylindrical space. She said: I am just from here, here, in an instant. Then they kissed and embraced in fear. This is the real kiss between Madeleine and Thinking Emperor. At this time, Madeleine is not a well-trained, programmed robot, her beauty and her soul are truly present in the dark forest at the same time. Thinking Emperor reminded her from time to time: "Who are you now?" She repeated: "Madeline. Stay with you." This sentence is absolutely true. This masked character is more real than any other character. Then she eagerly walked out of the forest and returned to a place with light. The backlit lens shot from behind clearly photographed the light itself as a tree hole-like exit/entrance. The haze is so unforgettable. The depth of the storyline itself is unfolded in the second half. This folding action completes the character-to-character and plot-to-plot self-simulation, but the space created by the illusion, illusion, and illusion has already surfaced, and the sun is tearing the fog and shining in. Although the fog-shrouded lens seems to be more than the first half. The story began to become cruel, evil, violent, and real. The relationship between the characters is reversed. The woman walks towards the man with the heart of flesh and blood, while the man moves from the apex of fragility and innocence to violence, control and exposure. The hero who saved the United States in the first half turned into a joke, and in the second half, he equalized the game. While destroying love, he washed away the shame that this joke brought to him. Of course there is dizziness. As a deeper, innate The fear, vertigo and the vision of Madeleine are always injected into that mysterious space at the same time. This is the key to the shock and confusion of the film. We cannot distinguish whether those shots are subjective or objective. Was it what the thinking emperor saw, or what he thought Madeleine would see, or what the real Madeleine saw (the character who was too real and more real than his true identity, not an actor or being played). This is the generator of the fog. If the girl in the second half is really another person, or if she seems to be that person, but has never worn the necklace, would this story be more fascinating? That is not a Hitchcock story, but a Borges story. Some experience: 1. Be wary of the kind of horror that is only said once. 2. Folding, inflating, and returning. Replay in reverse, swapping roles. This is what should be done in the second half. 3. Let the unreliable protagonist investigate an unreliable character who seems to have more serious unreliability symptoms, which will inevitably bring double dizziness. This is a perfect ecstasy. 4. The pendulum phenomenon of the structure. The secret to the use of mirroring is that the left and right swings are the same.
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