[This article is quoted from Alang]
With light and shadow, director Villeneuve retells the parts of history and sociology that are not willing to be exposed to the sun. He photographed the desolation and beauty of the US-Mexico border.
In the field of photography, photographer Roger Diggins, who photographed "Barton Funk" and "Shawshank's Redemption", is a true king. This time, in his lens, we saw a familiar and unfamiliar Mexico, just as we saw justice and evil that were both familiar and unfamiliar.
In the panoramic overhead shots from the perspective of God, the depths of the desert where cacti and short ear willows grow are endlessly barren, endlessly hot, repressive, monotonous and undercurrent surging. Kate cleans the bruises of his wrists, the mirror and the lens in front of the basin are mirror images of each other, and emotions such as fear and guilt are stretched and magnified.
In the natural light of the setting sun, the silhouette is more charming than the real person. Kate held up her binoculars and looked at the silhouette of the city shining with flames. Silhouette of a fully armed soldier wearing a thermal imager and night vision goggles. When the setting sun fell, the soldiers concealed into darkness, and the battle was about to begin. The convoy drove into the afterglow of the setting sun, and the windows of the car reflected the desert and clouds on the US-Mexico border.
In the battle in the tunnel, a drug dealer was not given a shot, and it just relied on light, shadow and sound to fight a big battle. The most terrifying enemy is invisible.

What I watched repeatedly was the taking of hostages.
From 24 minutes and 18 seconds. First, there was a magnificent aerial photography for more than a minute, from the city to the desert, and then on the fast-moving road. Five Chevrolet off-road vehicles were advancing at high speed. Inside the car was Alessandro holding a gun with slightly closed eyes, and it was Kate turning. Head staring at the face. As the outline of the city appeared, Alessandro said to himself, "This is it, the beast, the city of Juarez".
The way of taking hostages requires passing through several spheres of influence, passing through different areas, and defending by different forces. The speed of the convoy remains unchanged. It swiftly passes through residential areas, streets, and toll gates to protect the convoy to maintain the same speed. After completing the mission in their own area, the front and rear vehicles drove into different ramps, stopped suddenly, continued to open their muzzles, remained alert, and the convoy behind them drove away.
The speed of the vehicle is always the same, and the process goes smoothly.
The outbound journey was a road scan. Occasionally, Alessandro had a brief conversation with his teammates to popularize his background. Looking at the dead bodies hanging upside down under the overpass and Mexicans playing squash and chatting together without any violation or violation, the CIA people said with emotion to the police escorting, "They did a really good job. Destroying the body like this makes others feel that these people are certain. It is implicated, and the death is so miserable. It must be deserved." Then he repeated the sentence without intention, "They did a really good job."
The return journey is to handle the event. A voice came from the intercom, outlining the fire control of the other party, "Suspicious vehicle, left lane", "Suspicious vehicle, direction at nine o'clock", "Pay attention to the roof", "There is one kilometer away from the bridge, the road is safe, everyone passes quickly" , However, the phrase "a vehicle broke down ahead" suddenly brought the danger to the front. A few minutes later, gunfire sounded, two cars were sieved, and eight bodies lay across the street. The civilians in other vehicles watched and drove away slowly.
38 minutes and 19 seconds, the task of taking hostages ended. It took more than 14 minutes, with the movement of the vehicle, the cut of the lens, and the coordination of aerial photography and close-ups, creating the tension and coldness that poured on the screen. This is the last extreme victory of film aesthetics, and it is also a real tension and pop-up in reality. Villeneuve converged his desire for expression as much as possible and completed the narrative within the standard value. In this process, Kate has been in the car and her vision is projected through the car window. In fact, the director has always limited Kate's vision to limited spaces such as the car and the interior, which determines what she can What you see is only part of the whole. Her sense of justice is just a one-way sense of justice.
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