①
The screenwriter textbook says that the core issue of all films is the issue of identity.
Mamiya’s hypnosis always starts from then on, tirelessly, and even asks repeatedly, "Who are you?"
Then he drove straight ahead, invaded the minds of those who were dumbfounded, and acted as their "screenwriters" grandiosely, retrieving their fleeting malice, and then magnifying them into killing intent.
The terrible thing about Mamiya is that he thinks that "flies don't bite the eggs" and he can't help but underestimate him. In front of him, everyone is full of cracks.
②
When I watch a lot of movies, I hate frequent cross-cutting, especially in close-up shots. Instead, I like the panoramic view and the long shot scheduling of the deep space. The room-in-house structure of the detention room is simply a surprise. Kurosawa Kiyoshi's deep space is used extremely well, and many scenes even assume a self-evident narrative role.
③
"X Shengzhi" stands out from the crowd, whether it is suspense or horror, it is cold and alienated from beginning to end, almost abandoning the soundtrack, only embellished with wind and waves, or the mechanical sound of a lighter, the broader, all left to Role.
We are also in an inescapable hypnosis.
20190601
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