The film continues.

Everyone on the scene realized the biggest problem in the sixth minute or so.

Is this TM "one shot to the end"?

It's not going to be all one shot, right?

With such doubts and shock, everyone continued to watch.

Soon everyone was attracted to the plot.

The two protagonists skim over various broken walls and shell craters along the way.

With the fog that always shrouds the periphery.

The cruelty of war and the immersive fear of the unknown can't even be dispelled by the sun.

The blue sky in the lens seems to symbolize life, but it is so close that it can't be reached.

The artistic sense produced by this color pull also makes people feel that this movie is really not simple.

Continuing to watch, the two protagonists come to the trenches in search of food.

As a result, the decoy thunder was touched by mistake, and there was a bang, and the picture went black.

The tension is overwhelming.

Many people are also eye-catching.

This is definitely a clip point!

So it's a pseudo-one-shot to the end.

But this is already very good, it has been almost ten minutes just now, right?

It can also maintain the fullness of the plot, and the picture is good-looking.

Really cow!

Then the two who survived continued to run.

Coming to the second scene.

The severed plum trees in the garden, the corpses in the backyard of the farmstead, the freshly dug well water in the buckets, and the scattered fruits and vegetables are reminiscent of Miller's paintings.

Those Jiangnan towns shrouded in blue sky, white walls and black tiles, which were originally beautiful, make people feel quiet and magnificent.

But what was supposed to be a fertile habitat for ordinary people has now been reduced to rubble.

This is what the war brings.

The scenes that have been destroyed by the war are like this, which is embarrassing.

Just when everyone is silent in this "past tense", the "present tense" comes.

The two protagonists encounter a lone Japanese army.

Met on a narrow road, the short protagonist in order not to let the Japanese army make a sound, one accidentally died with the Japanese army.

In the shot, the short protagonist played by Bao Qiang staged a life on the spot.

I saw that his face turned pale, then struggled, and finally died.

The acting skills are excellent, which makes people deeply sorry for this soldier.

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

As the camera moves, first front-on, then turn-on, locking onto the tall protagonist.

The cutting mode of ordinary movies can still be so silky under one shot.

Many people at the scene couldn't help but nod: this photography does have something!

Then the movie continues, the companion is sacrificed, the tall protagonist takes the gun from the Japanese soldier, and the plot also enters the third scene.

And this big scene is also the most visually shocking.

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

It's a novel experience from a third perspective.

That is, in later games such as eating chicken, it is as if God's perspective controls the protagonist to walk and make movements.

While escaping from the Japanese soldiers, the protagonist hides in an abandoned room and sees a woman holding a small baby, the two are scared and hungry, and the protagonist gives them what little food they have left.

It's just that this warm scene is just a flash, and before the protagonist can go far, he has seen the brutality of the Japanese army.

Civilians were beheaded in line, and women were raped and killed.

The woman and baby who had just been rescued also collapsed in pools of blood.

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

Although these scenes are medium and long-range shots, the brutal animalistic sensuality is overwhelming.

This is war!

No, this is a crime against humanity!

The protagonist can't bear it.

Just as he was about to be impulsive, a hand suddenly stretched out behind him, and it was an injured man who grabbed him.

After a brief conversation, I learned that the other party was a reporter, and it was a reporter who was originally a traitor, and his job was to serve the Japanese army.

Because I couldn't stand the evil deeds, I secretly took a photo and ran away, but I was shot.

At this time, the Japanese soldiers chased and killed, and when the reporter saw this, he felt that he would be discovered, and he couldn't escape, so he took out the camera, took out the film and handed it to the protagonist.

After some explanation, the reporter used his last strength to lure away the Japanese soldiers, and the protagonist was able to escape.

Guns and laughter soon followed, and needless to say, the reporter was dead, and tortured to death.

The protagonist is not having a good time here, he didn't run out of diversity, and he turned around and met an enemy in a dilapidated house.

The dark room confronts, the door is opened nervously, and with a bang, the protagonist and the Japanese soldier shoot at the same time.

As a result, the Japanese soldiers died, but the protagonist did not die, fell into the ruins, and was buried in mud and wood.

The thrill of war games explodes again.

Everyone at the scene was shocked.

At this time, I don't care about where the editing point of a shot is, I have found out a few, and the picture is so beautiful.

I just think about whether the protagonist is dead or not, and whether he can escape.

When the protagonist pulls the bricks and dirt from the ruins, it is already dark.

At this time, the most shocking and artistic clip of the visual effects of the whole film came.

The protagonist runs away in the night, flares keep rising into the air, and in the eyes of the injured protagonist, he sees the light rising from the ground, which is reflected in the scorched earth that was originally a beautiful town, but now it has become a ruin, and the constantly moving light and darkness seem to be an illusion in his mind, and the huge explosion of cannonballs and the whistling of bullets are in his ears.

Passing by a street intersection, the church of the cross and the temple of the Buddha statue are burning.

The orange-red flames engulfed the two religious symbols that symbolized human civilization.

The entire screen was covered in fire and darkness.

The protagonist stands in the middle of the frame, followed by a long black shadow elongated by the firelight.

Some film critics have gotten to a deeper point: the protagonist seems to be in hell at the moment, behind is the abyss, forward is the fire, there is nowhere to go, it is desperate, this is talking about the protagonist, why not talking about human beings?

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

Then, before dawn, the protagonist's jump on the bridge reflecting the cannon fire is almost a textbook interpretation of apocalyptic aesthetics.

As soon as the camera turned, he fell from the waterfall and floated in the swirling pond, with falling plum blossoms in his hand.

The plum blossoms fell on the river, and also on the corpses of countless civilians who had become giants.

There are old people, there are women, and there are small hands of children.

This nearly fifteen-minute clip made almost everyone at the scene feel that the war was really cruel, and this city called Nanjing City was simply purgatory, but fortunately, the protagonist escaped.

Eventually, the protagonist follows the stream and finally comes to the rear.

Rescued by a large army, in order to deliver news of the city to the chief, the protagonist traverses the fields where countless refugees and soldiers have fled for their lives.

This scene is another extremely shocking long shot.

After seeing the commander, after the protagonist informed him of the situation in Nanjing, the commander said helplessly: There are more Japanese reporters than the wounded here, and this is not the first time, and it will not be the last.

The corners of Oscar Chairman Sidney's mouth turned up slightly, he felt that Jiang Wen in the movie was right!

After hearing this, the protagonist goes to the wounded area and hands the film to a little girl in the arms of a wounded reporter.

At the end of the picture, there is an endless scenery of the south of the Yangtze River.

The camera moves, behind, is a small town like a water town in the south of the Yangtze River, and in the distance, there is a faintly visible Nanjing city filled with gunsmoke, the refugees around him sang songs, and the protagonist picked up a gun.

(End of chapter)