The story is simply a farce caused by a charred corpse, which is a typical black comedy, and "Crazy Stone" went this way.

The dazzling serial narrative, the intricacies of the character relationships, the wrong story direction on the wrong side, and the interweaving of multiple clues. There are actually quite a few such movies, such as the Coen brothers' "Blood Labyrinth" and "11:14", the Norwegian film "Headhunter", and even Quentin's "Reservoir Dogs" and Guy Ritchie's "Two Big Smoking Guns......

Over the past 100 years of film development, in fact, almost any story has formed a pattern, including films like "Heart Labyrinth", which promote the relationship between characters on multiple parallel narrative lines through one object, and play with the concept of parallel time and space in the story structure, and the story characters are in the center of the vortex and are in a state of fascination with the authorities.

Examining the development of the whole event from the perspective of the audience as God, such as Hitchcock's good use of the concept of "time bomb under the table", provides the audience with a macro dramatic context, and can better bring in their own characters and plots, so as to achieve the duality of typical images and bring the ultimate viewing effect.

All the stories take place in a small mountain village, the pattern is very small, and the sense of involvement in the opening scene is not strong, but through some details to explain the relationship between the characters, the chain reaction triggered by the appearance of the corpse as a node, so far the three main lines have been separated.

These three clues have their own order in the narrative, in fact, they are parallel time, the trick of the movie lies in the mastery of the narrative sequence and parallel time and space, which creates a strong suspense for the audience, the three stories are independent of each other, but they complement and echo each other, the later story explains the suspense left in the front, and the previous story corresponds to the development of the later story.

The characters in the film only look at the events from their own perspective, and are not aware of each other's actions. However, from the perspective of God, the audience has a clear understanding of the entire context of events through the mutual echoes of the three stories and the relationship between the characters. That's the time bomb concept under the table, and that's what makes the film amazing.

Although it is presented in the form of a group portrait, it does not appear cluttered, and the character shaping of each character and the foreshadowing for future behavior are very in place. The personality traits of each character determine their respective choices and dilemmas.

The village chief, who was upright but very protective of his son, had to burn his body in order to save his son, and for the next few days he covered himself up and faced constant mental torture.

Zong Yao, who wants to get rid of his father but actually cares about his father very much, does not hesitate to kill people in order not to destroy his father's reputation after learning the news of his rural girlfriend's pregnancy.

The beautiful Liqin hovers between a man with domestic violence who she doesn't love, a man who doesn't dare to take responsibility because of her wrong love, and a simple and honest man with a thief's heart and no courage, and finally chooses to face everything alone.

The poor brother and sister-in-law of Baihu, because they couldn't afford the gambling money owed by their younger brother, finally had to come up with a plan to stage a big drama of their younger brother's fake death, but they didn't know that the person in the coffin was his younger brother.

Such a method of character portrayal makes the whole film permeated with an absurd sense of reality. It's absurd because there are always unexpected situations at some critical moments.

For example, Baihu died when he was pushed by Zong Yao, for example, Wang Baoshan went to Mingqin's house to steal fish when his wife had a big belly, for example, Chen Zili fell off a cliff, and for example, Baihu's brother thought of pretending to borrow a corpse to avoid debts.

But it is true because when the above absurd scenes are put back into the reality of rural China, everything is so logical.

If you think about it carefully, you will find that the logic behind every choice and action of everyone in the film is understandable.

One of the things that makes the story of a nameless corpse possible is the increasingly alienated interpersonal relationships in the countryside today. Throughout the film, it reflects the large migration of young and middle-aged labor from rural areas to the cities, resulting in the alienation between people in the village, and even between relatives and relatives, and between lovers and lovers.

After hearing the news of Chen Zili's death, the villagers said that they did not have his phone number, and the village chief only found his contact information after rummaging through the cabinets. Baihu's brother couldn't contact Baihu, on the one hand, because he was in debt and it was difficult to contact him, and on the other hand, he went to work in the city and neglected to contact his family.

In an age of such mobility, it's easy to lose touch with people. The bonds of kinship in the countryside are gradually beginning to break under the impact of urbanization. And it is precisely in the context of such a family bond that the nameless corpse remains nameless, which can be possible.

In a society with weak ties, the sudden disappearance of an individual becomes so inconspicuous that it cannot be noticed. Because for the villagers, the disappearance of loved ones may have become a common thing.

What makes the whole story even more complicated is the attitude towards women in a patriarchal society. Fame is a big deal in the village, especially for women. The White Tiger used this as a lever to blackmail Zong Yao from the beginning.

Because whether it is Huang Huan, Zong Yao or Bai Hu, they all know how difficult it will be for a young girl who is unmarried and pregnant to live in the village. And this is why Huang Huan chose to use the strategy of fake pregnancy to force marriage, Huang Huan knows in her heart that as a woman, a young and unmarried woman, this is her weight to keep Zong Yao.

Liqin was opposed by his parents because she was with Wang Baoshan when she was young. The old lover repented of marriage and evaded responsibility, making her a woman who no one wanted in the eyes of people, a woman who depreciated.

After passing middle age, because he was afraid of being criticized in the village, he refused to help his old lover make an alibi in front of everyone. For a woman, a beautiful woman, a woman who married into the village, life is difficult and harsh.

She has to keep her way and learn to restrain her beauty, otherwise she will be called a vixen, she will have to endure her husband's perennial domestic violence, otherwise she will be called unvirtuous, and she must deny her feelings for the person she really loves in public, otherwise she will be called debauchery and impropriety, and she will never be able to hold her head up in the village.

All of the above, whether it is the weakening of social relations or the influence of a strong patriarchy, make the absurd possible and become a reality. Let everyone in the film have no other choice.

The greatest experience that this kind of character in the film has no choice brings to the audience is that there is no way to make any kind of judgment without authorization, moral or value. Each character has their own motivations, positions, and their actions are reasonable and irrefutable in the microscopic situation that each person is in.

And it is precisely the actions of each individual that secretly push a corpse from namelessness to namelessness, and finally back to namelessness.

After reading the script, what impressed Ding Cheng the most was Liqin.

reminds people of Zhang Yihe's Liu and Yang's daughters, and to some extent even thinks that she is the protagonist.

Everyone else helped her fulfill the perfect murder plan she had fantasized about again and again. In the process, she killed her husband by the hands of others, and also recognized the true face of her old lover.

Finally, he stood by the grave of his husband and looked back at the funeral procession behind him. So indifferent, so beautiful. However, the real-life Liqins may not have so much luck. Some of them are in prison, some are paying for their lives, and some are still waiting for fate to judge them.

It looks complicated at first glance, but it's actually very simple, going around in circles, and the original corpse is still the original corpse in the end. This kind of plot arrangement is very interesting, you can imagine how such a story came about, the most basic is the structure of a Möbius ring, which can also be called an Ouroboros. Then, various characters and plots are constantly added to this circular structure, and the causal connections are constantly enriched. After completing the overall story, it is then broken up into three stories to become the final appearance of "Heart Labyrinth".