If it was a crappy screenwriter, the play would be more eye-catching and twists and turns, but the power of condensing was dissipated.
The teenager's panic will be amplified, the inner struggle after the loss of Hannah will be amplified, the defense in court will be amplified, the conflict between the two of them will be amplified, the condemnation of the Jewish daughter when she meets him will be amplified, and he will confess everything. The response will be amplified. Thankfully, I'm not its writer.
How to achieve a balance between the conflict and the inner, and even how to turn the inner into an image, this film is really an excellent example. The childish voices that came from the chapel during the journey, the complex expressions on Hannah's face, the teenager who knew nothing at the time; one by one, he took off his clothes, put his feet in the cold lake, and found himself again; Hesitating in the heavy snow, he finally turned and left; these scenes do not need narration, no music, only sound.
This young man's thoughts have been hidden for decades, and even turned into poisonous thorns, hurting his family. In fact, everyone in it, even this country, has a past that can't bear to look back. How exactly should we deal with shame? Where do we get redemption?
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