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"A clear blue sky, a rich red desert, a raging black smoke, sickly white skin, ugly yellow pus, gloomy navy blue bodywork, crazy orange explosions...... All the bright and extreme, flamboyant and wanton colors collide together, just like a catastrophe created by the painter after accidentally knocking over the paint plate, which is unbearable, but under the delicate and ingenious, sharp and decisive lens of Strello, it outlines a magnificent picture of rich ink and color, dedicating this most wonderful, boldest, most brilliant, bravest, most weird, and best work in the past twenty years, in front of which any language is pale and powerless, So much so that I felt a strong sense of powerlessness. ”

This film review, Mick LaSalle, a professional film critic from the "Hollywood Reporter", is not the "New York Times", nor the "Chicago Sun", nor is it a "variety", but the "Hollywood Reporter" as a leading representative of the strength of West Coast film criticism, so that when this film review came out, it broke everyone's glasses.

At the beginning, Mick did not hesitate to praise himself, clearly indicating his unwavering position.

"Before writing this review, I sat in front of the computer in a daze for a full hour, because my brain received so much information that I had to spend some time slowly digesting, sorting out my thoughts, and carefully recalling every detail and every picture in the work 'Fury Road', everything was so blurry, but so clear, this contradictory madness made me feel the urge to go into the cinema again to watch the movie for the second time. It was the first time since Godfrey-Reggio's 'Unbalanced Life' in 1983 that I felt the power of the language of the lens and the richness of the art of cinema. ”

As you can imagine, Mick struggled to write this review. Before this, the West Bank media forces almost never gave Lance a good face, even the "murder by knife" led by Tom Cruise, but this time, the situation has been reversed, and Mick's entanglement and caution can be felt between the lines.

"As a director, Strello has shown a unique idea in the language of the camera – maybe not all of them are so pleasing, but it is undeniable that the scene scheduling of the 'City of God', the use of light in 'killing with a knife', ' Sin City's use of color has left a deep impression on people, this time, Strello has taken the live special effects to the extreme, creating a work with a sharp style, and what is more special is that almost every shot has been cleverly composed, not only showing the relationship between the characters, but also making psychological hints to the inner heart of the plot, catharsis the shock of the lens language layer by layer, layer by layer, making watching a movie truly a pleasure.

There is such a scene in the movie, the heroine Ferrosa kneels on the boundless desert, the sunset is like blood, the breeze is gentle, the sand is rolling, her prosthetic leg is left behind, leaving deep and shallow footprints, but it is soon covered by the blowing sand, the blue sky is so clear that it can be touched by raising her hand, but the hazy halo is far away, so empty that Ferosa looks extremely small, Ferosa looks up to the sky and roars, completely venting all the emotions in her heart.

But it is such a simple picture, but it has become the most beautiful, magnificent and shocking shot in 2006.

The sadness, despair, and pain revealed in Ferrosa's roar are undoubtedly the first layer of information that the audience receives.

After careful observation, it can be noticed that Ferosa's armor is stained with blood, her cheeks are also covered with scars, and her prosthetic limbs are weakly thrown on the desert, almost buried, so that the audience can feel the heaviness and loneliness of Ferosa's heart, scarred and faltering for a long time, originally thought to have reached the end, but was told that the end has disappeared, that dazed and lonely is the second layer of information that the audience receives.

The sky is high and far, the desert is long and dangerous, the breeze blows, the red desert rolls like white waves, the tranquility revealed in the chaos has a thrilling beauty, but behind this magnificence is the hardships and pains of the last days, no water, no food, not even weapons, no companions...... There is also no hope. The vast silence makes the audience's heart sink slowly, and the powerless struggle of this drowning state swallows up the breath little by little, and this vastness and grandeur are the third layer of information that the audience receives.

But that's not the end of it.

After watching the movie, when I reminisced about it, I could deeply feel that the low status and difficulty of women in the background of the end of the world, Ferrosa went through many difficulties and dangers to fight her way out, but she still couldn't find any exit, and it seemed that she had no choice but to become an accessory to men. The disappearance of freedom, the destruction of human rights, and the loss of vitality...... There is also the annihilation of hope, the chaos of order and the decay of morality, which is the most terrible part of the end of the wasteland. This is the fourth layer of information.

With just one shot and one picture, Strello used the collision of colors, the structure of space, and the contrast of light to the extreme, inspiring the most realistic and explosive performances of the actors, and completing the narration of the whole story. Strello truly evolved the cinematic lens into an artistic language that brings out the depth and breadth of thought without the need for lines, action, or even superfluous editing and camera positions.

This skill reminds me of Stanley Kubrick. ”

Incredibly, Mick placed Lance on the high ground of Stanley, a true master of cinema and a great director recognized by countless film critics. It can be said that every work in Stanley's directorial career deserves to go down in history, and even the unsatisfactory "eye-opening" at the end of his career is far beyond the average of many directors. But now, Mick, the representative of West Coast film critics, has put the two men on the same level for discussion, which is not only unbelievable, but also earth-shattering.

But that's not the end of it.

"What makes Strello more admirable than Kubrick is that the combination of artistic lens and commercial elements makes his work find a balance between elegance and popularity, and truly makes art a work that everyone can understand, and everyone will have a different understanding.

The fact that Strello insisted on filming the entire production of Fury Road in Namibia has made it one of the most grandiose and magnificent works in the history of cinema, as well as one of the most unique and dangerous.

In the tornado of the sandstorm, as if you were on another planet, the roaring punk armored locomotive, in the rock roar of the guitarist in red, slaughtered as brutally as Ben Hur, the explosion of the burning sky, the shattering collision, the fight of bayonets, the bloody tearing, the churning and burning car was like a fleeting star; The mighty red sand is grounded in the sky, in the rush and chase of thousands of horses, the punk is running in the blood, and the fanatical sons of war are not afraid of death, shouting 'Witness me', spraying silver paint, seeing death as if they were at home, and dying together; The burning flames and the splattered blood are intertwined into a magnificent picture, gracefully blooming in the boundless desert, red, yellow, black, blue, white, each color is as gorgeous as fireworks, eerie and cold-blooded, as if a little wind and grass can kill life; In the chase of life and death, there is no superhuman ability to fly off the wall, there is no aura of the protagonist who is immortal, and he completely relies on his own / ability to fight, punching to the flesh, making deadly moves, and fiery guns......

All of them, in the sharp and crisp editing connection, cook a gluttonous feast that will never be forgotten, mixing all the barrenness and cruelty, desperate rage, metal explosions, and endless chases under the style of steampunk, from a simple cinematic composition to a thrilling escape and torture.

Strello made this competition of blood and fire a magnificent and wild feeling like an oil painting, and only Strello could shoot the cult-style steampunk with an aesthetic artistic temperament; The only one who can photograph the sandstorm with the majesty and grandeur that people can't help but want to be in it is Strello.

When 'Sin City' was released, everyone was amazed that Strello reinterpreted the aesthetics of violence, leaving Quentin Tarantino's 'Kill Bill' far behind. But after the 'Fury Road' was born, no one dared to talk about the aesthetics of violence in front of Strello.

The rough texture that pervades the lens cannot be simulated by green screen shooting and computer special effects, revealing a kind of self-sacrifice, righteousness, moth to fire tragedy and poignancy all the time. There is no right or wrong, only survival, even the so-called good and evil, they are desperate to survive; There is no hesitation, only violence, no reason, only madness, no morality, only life and death, that pure through the lens is shown, and the beauty is thrilling.

Bold, crazy, wise, calm, arrogant, wanton.

This is the 'Road of Fury', and this is also Lancelot-Strello, and only Strello can create this work, and only Strello can deliver such a visual feast, a unique and unparalleled feast. In front of this work, all the other works in this year's summer file are overshadowed. This is not only the most magnificent and wonderful work of 2006, but also the best work since 2000, and it is even another work that changed the course of commercial cinema since 'Jaws'.

During the Q&A session after the premiere, a man stood up, overwhelmed with emotion, and excitedly asked, 'Lance, how did the scene where Ferrosa drove into the sandstorm be filmed?' The man who asked the question, his name was Quentin Tarantino. (To be continued.) Mobile phone users, please browse and read, a better reading experience.