The connotation techniques are too rich in mapping. They are adapted from real events. Violence and passion are scattered. Although the director is telling the story, the connotation is left for the audience to reflect on. The problem can be traced back to childhood. The ambiguity of the father-in-law and the daughter-in-law has aggravated the crime of leaving home. The galloping train symbolizes the wild escape of Enojin, the uneven glass symbolizes the twisted face of the father, and the eel symbolizes the alternation of good and evil, which is often more real. The more exaggerated, the stronger the contrast and the contrast, the techniques of natural light, hand-held photography, follow-up shots, estranged medium shots and perspectives all have an expressionist quality, which is one of the reasons why the film has a poetic quality. A large number of shots were shot at a sitting height, with a profound cultural connotation, cramped and restrained. The true face of man can only be penetrated by the face of desire. In the face of desire, reason and faith are so pale and powerless. The discussion of human nature is an eternal and endless topic. The scenes between Enojin, A Chun, and the daughter-in-law are unforgettable, and the two heroines live in our memory.
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