Belch...... Recently, my busy head hurts.,5,000 words a day can't be guaranteed.,Work or something.,The most troublesome person.,Come to some recommendation votes or something to comfort it.。 ¤，

More albums were found by Hayley from Jeff's bedroom, some of the girls were tied up, some of them had misty eyes, some of them collapsed on the ground, although they were only photos, but they could also make people understand that these girls did not have the ability to resist when they were filmed, and they could only let people do whatever they wanted.

"Scum!" Daisy cursed under her breath.

A qiē and a qiē all show that Jeff is more than just love. Childishness is still a very dangerous kind.

Hayley poured another glass of water and poured it into Jeff's mouth, and the picture went black again.

When the screen comes on, Jeff is lying on his back on his workbench, unclothed underneath, just covered with a large bag of ice in key places.

The little girl is going to castrate this pedophile!

Daisy felt so happy, but the corners of her boyfriend's mouth jumped.

At the end, I don't know when, Tony Guzman moved two more rows forward, and he felt that the film was getting more and more interesting.

Unlike others, Jones Butler laughed, as a working woman who had suffered some unfair treatment because of gender issues, and saw that Hailey was about to start the castration drama, and her heart was inexplicably happy.

Baker Larsente is relatively calm because of his own relationship, and only looks at this scene from a professional point of view.

The director, named Murphy Stanton, used an overhead shot here to take a close-up of Jeff's hands tied, moving the camera from top to bottom, scanning Jeff's body until the lower body covered by ice cubes, clearly explaining Jeff's state and laying the groundwork for the castration that followed.

And Jeff was lying on the metal tabletop, and the harsh reflection of the light shining on the metal table was also captured by the overhead shot, which also made people feel the terrifying cold tone, indicating that something bad and terrifying was about to happen.

followed by the dialogue between Hayley and Jeff, the camera constantly switches between Hayley and Jeff, and they all give close-ups of their faces, which is a kind of psychological montage, vividly showing the inner world of the characters, allowing the viewer to feel Hayley's calmness and Jeff's panic.

The director's 2 to 3 second camera cuts also make the film faster and strengthen the psychological tension of the audience.

This part has always been shot against the backlight, and the contrast between the brightness of the background and the darkness of the characters is stark, which brings out the eerie and mysterious, and it is easy to make people nervous about what is going on.

The director has a unique approach to cinematography, editing, and use of light, and is not at all the one who shoots randomly on the roadside in Park City.

When he saw this, Tony Guzman's eyes quickly wandered between the few audiences in the theater, trying to find the director, this guy who had never heard of the name, is a very thoughtful director, as long as he can maintain the standard, over time, he will definitely not be unknown.

This guy is quite sophisticated in the use of camera language, and he doesn't look like a novice at all.

When Jeff asked, "What are ice cubes used for?" ”

The camera immediately showed Hayley to pull the curtain open, and the picture immediately became clear, indicating that the mystery was about to be revealed, and then the camera took a close-up of Jeff's face, and the light shone on his face, and he could clearly see his nervous and struggling distorted expression, and also realized that Jeff knew that something bad was going to happen to him, and switched to Jeff's point of view, pushing the camera through guò, narrowing down the scope of the scene, so that people and Jeff could see Hayley's expression and bring a scalpel.

The mystery is about to be revealed here, and this sense of synchronicity can make people feel Jeff's mood at this time.

When Jeff knows that Hayley is going to castrate him, he takes a close-up of his frightened face again, while Hayley sits on the other side and talks to him.

The director's techniques are all quite clever, and to Tony Guzman's satisfaction, all the techniques are simple and easy to understand, which is quite important, because obscure shots are often a weapon to dispel the audience.

There are only three shots in this section, a close-up of Hayley's face, a panoramic shot of Hayley, and a long shot of Jeff's half-body appearing.

The information conveyed by the camera is very light and can make people read that Hailey completely occupies the initiative and is still calm and confident, while Jeff is the weak side of the controlled zhì, and the interesting thing is that when the camera appears Hailey, the background is a blue wall, which is the same color as the surgical gown that Hailey is wearing, but the background is a red wall when Jeff's shot appears, and the director obviously skillfully uses cold blue to reflect Hailey's composure and calmness, and uses warm red to reflect Jeff's nervousness and panic.

These are simple to say, but any director who wants to do it must have considerable ability.

There is no doubt that Murphy Stanton, a rookie director, is capable of far exceeding his psychological expectations.

Tony Guzmán's frequent short shots show the director's ability to control the pace, and the long shots that follow make him nod his head constantly, and the rookie director's long-shot storytelling ability is equally excellent.

When Hayley leaves for a short time, the picture returns to Jeff and becomes a long shot, the camera moves back and forth between Jeff who is frantically struggling and the mobile phone on the coffee table, profoundly expressing Jeff's desire to escape.

And after Hayley returns, Jeff tells a memory, and the whole memory once again uses long shots, the director uses guò to shake, move the camera, and use close-up shots to show Jeff who is telling the memory, highlighting Jeff's sincerity and pity, and wants to use his true feelings to impress Hayley and make Hayley let him go.

But the camera then shifts to a nearby photo frame, where the figures of girls appear one after another, showing that Jeff is just a clever argument, and his words cannot hide what he has done.

At the same time, an eerie background music plays, and Hayley walks up to Jeff, who stops shouting, his eyes full of desperation, and the castration is about to begin.

The voices in the hall grew creepy, Jeff gasped for air, Hayley exhaled softly, the knife slid through the peculiar tear of the skin, and something suddenly broke......

There is no direct image of castration on the screen, but through these voices, it is extremely clear that every audience in the hall is in progress to remove the source of Jeff's sin.

Coupled with the previous rendering, even if you don't look at the picture, just hearing these sounds can make the viewer feel extremely painful and cruel.

Of course, it must be men who think so.

A female audience like Daisy has only one cool word in her heart.

The little girl's action of punishing Jeff is so cool and so cool! All bastard men deserve such punishment!

A stream of blood rushed out and splattered onto Hayley's surgical gown, and the little girl showed a calm disproportionate to her age, just put away the scalpel and said, "OK! ”

The soundtrack is immediately replaced with a calm piano sound, giving the viewer a sense of relief, as if the castration has finally come to an end.