Refn's films often give people a sense of running, just like his character in the "Final Run" trilogy, who struggles for his own destiny and has no way out, with a strong fate. color. And this color blooms in his flamboyant violence, and the neon light becomes its blood splash.
In the melodious classical music, the film starts slowly and ends slowly, without a single acceleration. In my memory, there are two "runs" in the film, both of which happened in the scene of the murder of the Thai swordsman. One is that a group of people drove to the Thai swordsman on their way; the other was that they failed to kill and fled, and were chased by the Thai swordsman on the way. The rest of the time, the characters stand or sit, or walk slowly. The Thai swordsman did not forget the time to sing a song on the stage, and the people under the stage sat numbly. Only when the knife is raised and dropped, the swift blade can create a sense of speed.
It's like the movie is "bullet time" all the way through, but you can't see the bullets that are fired. So you don't know where the movie is going. Which target to hit, or who to shoot. It becomes aimless sleepwalking. Maybe it's an infinite magnification of the subconscious mind, swelled in ninety minutes, and you can't find a junction as charming as David Lynch. It shuts out most people, enjoys it by itself, revels in it alone.
At the end of the film, when Julian and the Thai swordsman were fighting, it seemed that there was finally a taste of electronic music, but the speed was still not up. From time to time, the picture inserts the static statue, and the fist freezes in front of the statue, creating "resistance". This lifeless and weak fight was like the meeting of two ghosts.
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