Chapter 346 Movie Watching

The movie continues.

Everyone at the scene realized the biggest problem at about the 6th minute.

Is this a "one-shot"?

Isn't the whole movie a one-shot?

With such doubts and shock, everyone continued to watch.

Soon everyone was attracted by the plot.

The camera passed over various broken walls and shell holes along the way.

Accompanied by the fog that always shrouded the periphery.

The cruelty of war and the immersive fear of the unknown, even the sun couldn't dispel it.

The blue sky in the camera seemed to symbolize survival, but it was so close, but it was out of reach.

The artistic sense created by this color pull also made people feel that this movie seemed really not simple.

Continuing to watch, the two protagonists came to the trench to find food.

As a result, they accidentally triggered a mine, and with a bang, the screen went black.

The tension was full.

Many people's eyes lit up.

This is definitely an editing point!

So this is a fake one-shot.

But this is already very impressive, it's almost ten minutes, right?

It can keep the plot full and the pictures are beautiful.

Really awesome!

Then the two people who survived by chance continued to run.

Came to the second scene.

The plum trees that were cut down all over the garden, the corpses in the backyard of the farm, the well water that had just been drawn in the bucket, the scattered fruits and vegetables, reminded people of Millet's oil paintings.

Those Jiangnan towns that were originally beautiful under the blue sky, with white walls and black tiles, made people feel quiet and magnificent.

But this should have been a fertile land for ordinary people to live and live, but now it has turned into ruins.

This is what the war brought.

The scenes destroyed by the war are like this, which makes people sigh.

Just when everyone was silent in this "past tense", the "present tense" came.

The two protagonists encountered a lone Japanese soldier.

When they met on a narrow road, the short protagonist accidentally died with the Japanese soldier in order to prevent the Japanese soldier from making a sound.

In the camera, the short protagonist played by Baoqiang staged a scene of life passing away.

He turned pale, then struggled, and finally died.

His acting was excellent, which made people feel sorry for the soldier.

At the same time, everyone also noticed the skillful and clever use of the camera in this scene.

As the camera moved, it first faced the front, then turned around, and locked on the tall protagonist.

The cut-shot mode of ordinary movies is still so smooth under one shot.

Many people at the scene couldn't help but nod: This photography is really something!

Then the movie continued, his companions died, the tall protagonist took the gun from the Japanese soldier, and the plot entered the third scene.

And this big scene is also the most visually shocking.

The tall protagonist went on the road alone, and the movie officially entered the "battlefield game" mode.

This is a novel experience from a third-person perspective.

That is, in later games such as eating chicken, it is like controlling the protagonist to walk and act from a God's perspective.

While avoiding the pursuit of Japanese soldiers, the protagonist hid in an abandoned room and saw a woman holding a baby. The two were scared and hungry, so the protagonist gave them the little food he had left.

But this warm scene only flashed by. Before the protagonist could walk far, he witnessed the Japanese army's beastly behavior with his own eyes.

Civilians were beheaded one by one, and women were raped and killed.

The woman and baby who had just been rescued also fell in a pool of blood.

The protagonist gritted his teeth when he saw all this through the cracks in the wall. Not only the protagonist, but also the audience frowned.

Although these scenes are medium and long shots, the cruel beastly feeling is overwhelming.

This is war!

No, this is a crime against humanity!

The protagonist couldn't bear it anymore.

Just when he was about to act impulsively, a hand suddenly stretched out from behind him. It was a wounded man who grabbed him.

After a brief conversation, he knew that the other party was a reporter, and a reporter who was originally a traitor. His job was to serve the Japanese army.

Because he couldn't stand the evil deeds, he secretly took pictures and ran away, but he was shot.

At this time, the Japanese soldiers chased and killed them. Seeing this, the reporter felt that he would be discovered and could not run away, so he disassembled the camera, took out the film and gave it to the protagonist.

After a struggle, the reporter used up his last strength to lead the Japanese soldiers away, and the protagonist escaped.

And soon after, the sound of gunshots and laughter was heard. Needless to say, the reporter was dead, and was tortured to death.

The protagonist was not doing well either. He did not run out of Duoyuan, and turned around and met the enemy in a broken house.

In the dark room, he opened the door nervously, and with a bang, the protagonist and the Japanese soldier fired at the same time.

As a result, the Japanese soldier died, but the protagonist did not die. He fell into the ruins and was buried by soil, wood and stones.

The excitement of the war game exploded again.

Everyone at the scene was shocked.

At this time, he didn't care about where the editing point of the one-shot was, how many had been found, and how beautiful the picture was.

He only thought about whether the protagonist was dead and whether he could escape.

When the protagonist dug bricks and soil from the ruins, it was dark at this time.

At this time, the most visually stunning and artistic segment of the entire film comes.

The protagonist runs away in the dark, and flares are constantly launched into the sky. In the eyes of the injured protagonist, what he sees is the rising light, which is reflected on the scorched earth that was once a beautiful town but has now become a ruin. The constantly moving light and darkness seem to be an illusion in his mind, and the huge explosion of shells and the whistling of bullets are in his ears.

Passing by a street corner, there were churches with crosses and temples with Buddha statues burning.

The orange-red flames devoured the two religious symbols that symbolize human civilization.

The entire screen was covered with flames and darkness.

The protagonist stood in the picture, with a long black shadow stretched by the flames behind him.

Some film critics have gotten to a deeper point: the protagonist seemed to be in hell at this moment, with an abyss behind him and a raging fire in front of him. There was nowhere to go and it was despairing. This is about the protagonist, but also about human beings.

Of course, the professional filmmakers present felt that the film had surpassed technology here and reached the height of aesthetics.

Then before dawn, the protagonist jumped on the bridge reflecting the artillery fire, which was almost a textbook interpretation of doomsday aesthetics.

The camera turned, he fell from the waterfall, floating in the swirling pond, and there were pieces of falling plum blossoms at his hand.

The plum blossoms fell on the river and on the bodies of countless civilians who had already become giants.

There are old people, women, and children's hands.

This nearly fifteen-minute clip made almost everyone at the scene feel that war is really cruel. This city called Nanjing is simply purgatory. Fortunately, the protagonist escaped.

In the end, the protagonist followed the stream and finally came to the rear.

Rescued by the large army, in order to convey the news in the city to the commander, the protagonist crossed the field where countless refugees and soldiers fled.

This scene is another extremely shocking long shot.

After meeting the commander, after the protagonist told the situation in Nanjing, the commander said helplessly: There are more Japanese reporters than wounded here. This is not the first time, and it will not be the last time.

The Oscar President Sidney curled his lips slightly. He felt that Jiang Wen in the movie was right!

After listening, the protagonist came to the wounded area and handed the film to a little girl in the arms of a wounded reporter.

At the end of the picture, there is an endless Jiangnan scenery.

The camera moves. Behind us is a small town like the Jiangnan water village. In the distance ahead is the vaguely visible smoke-filled city of Nanjing. The refugees around him sing a ballad, and the protagonist picks up a gun.