Ding Cheng sighed, after the Washington Post, he finally picked a good work that reflects social reality.

It's a pity that there are still a lot of regrets!

For example, from the perspective of the protagonist, layers of obstacles are set up to achieve the goal, through the statement of facts and images in the film, the support of the lawyer team, and the wife, which constitute the resistance and impetus to move forward, deepening the emotional factors of the event, so as to highlight the human brilliance of the protagonist from the side.

Therefore, his image in the film is three-dimensional, and his wife who has been photographed repeatedly and the manager of the office can also stand up through some clips.

On the contrary, the description of the opposite side of Dupont is a little simpler, only the leader of Dupont appears in the first half, except for the court scene in the back, what Dupont does is almost known from the dialogue, and the biggest enemy standing opposite the protagonist can't help but be flattened.

On the one hand, director Todd rarely touches documentary films after all, and it is his consistent practice to use people as the basic unit, and to use the protagonist as the basic unit to expand the impact of events, which is understandable for literary film directors, and the emotional impact on the audience has not weakened.

On the other hand, it comes from the direction of the film adapted from events, and in the way of dealing with the perspective of the film adapted from social events, group portraits and individual perspectives are very common, mainly in the effect expected by the director or the entire production team.

The reason why "Focus" won the 88th Oscar for Best Picture is not simply the empathy of personal emotions, the significance of the social event itself and the calm restraint of the characters' group portraits to highlight the social impact of the overall event, and further draw the audience's goodwill, without deliberate or abusive feelings.

Ding Cheng believes that the breakthrough of social events is mostly based on the theme of resistance, and this kind of film needs the audience to establish a connection with people, and sometimes this character can be portrayed in a more dramatic way, which is the Oscar movie "Richard?? The same can be found in Jewell's Lamentation.

The director designed a kind and willing image to jump on the screen, first suppressed and then raised or first raised and then suppressed and then raised again is also the key technique to shape the character, the same event itself is the process of Yang-Suppression-Yang, and the convenience of typical events to the audience's emotional identity is vividly embodied.

Being able to respond to this event and inspire the audience is a qualified film adaptation of an event, and the Hollywood industry seems to have a unique advantage in doing this.

Calm narrative, restrained style, in-place individual shaping and timely speeches, the style of pursuing a smooth script, reflecting the core of the story, and abandoning the author's thinking cannot find a place in the pursuit of authorial art films, but the simple and straightforward emotional core built within the studio dimension will be especially suitable for ordinary audiences.

There is no doubt that the topical significance of the film outweighs the artistic value. South Korea's "The Melting Pot" is an outstanding representative of the promotion of society and the legal system by films, which directly promoted the government to introduce the law on the protection of minors.

Hollywood also likes to bring a real incident to the screen, so that the audience can understand the whole story, which will undoubtedly strengthen the public's vigilance and monitoring of the government and companies.

I'm not a savior who got off to a good start in the country, but unfortunately I didn't keep up. A really good reality movie requires the producer to adhere to realism from the bones, there may be realistic themes, but at present, there is still a lack of realism.

I have to say that the director's performance technique is relatively ordinary, which will make people easily bored because they do not achieve emotional coherence. If the first hour and a half keeps people's emotions on a horizontal line through a series of details, the last half hour is a bit far-fetched, and even the end does not pull a climax.

Although the scene of the husband and wife quarreling and fainting and being sent to the hospital was deliberately arranged, the story progressed to such a link, and the audience could no longer be attracted by the plot outside the main line.

Some of the plots are unconvincing, such as the lawyer taking over the farm case at the beginning, the motive of the film is nostalgia, and the use of "Country Road Takes Me Home" to render the emotion, although touching, but intellectually unconvincing.

The last half of the characters are all in a state of waiting, and the result of waiting is that DuPont repents, as a senior lawyer, didn't you think of this at first?

In the film, Bilot puts the blame on the government and DuPont, which is all emotional catharsis, if the film makes some technical explanations in the front, such as DuPont's lawyers find legal loopholes for a way back, then DuPont's sudden reversal will be much more convincing.

Because the director uses eighty percent of the pictures to be filled with cold and gloomy blue tones, a large number of subjective shots stay in newspapers, book pages, photos, and screens to reflect the complexity and difficulty of investigating and collecting evidence and collecting clues.

The time span is very large, the atmosphere is dull and oppressive, and the black water of society is really bottomless. The string of numbers at the end of the film is shocking.

Of course, the director's strength is still obvious to all, and the lens composition of the relationship between the characters is also exemplary, showing the confrontational relationship and marginal situation of the characters in a textbook way. In terms of the overall rhythm, it is also interlocking, although time can be felt physiologically in the two-hour film, but every time the audience feels that the case will end like a routine, the ruthless crushing of the timeline and the progress of the case that surpasses our expectations and breaks the system again and again will refresh the audience's viewing motivation.

But at the same time, focusing on the individual little people is a double-edged sword, and it can also be the biggest constraint on the pattern. When the perspective is determined to be one-sided, the storyteller can make the audience empathize to the greatest extent through some personal details and emotional shaping, but at the same time, it also represents the loss of a broader narrative space and a more objective presentation.

The restraint and repression in the overall style are, to a certain extent, a subtle remedy for objectivity. However, in the display of the characters, it is inevitable that the group portraits are thin and they are closer to the protagonist.

In social films about the search for truth, empathizing with the viewer and weaving a more or less indulgent emotional illusion will always weaken the power of reality.

Although the lineup has the potential to impact the Oscars,

But Ding Cheng was not very optimistic!