19 17 how to achieve a mirror to the end?

The realization of a mirror in the end (perception) mainly depends on the exquisite design, repeated rehearsal and rigorous cooperation of the team. It's not really a mirror to the end, there are several obvious fragments in the middle. Technology serves the plot. There is no need to pursue technology too much. There are not many lines in the film. The director used a simple story to express his inner anti-war sentiment. Blake and Sco suffered more than 65,438+0,000 lives. Perhaps this task is just an order from the superior, but for these two soldiers and more than 1000 soldiers at the same level, this is life.

Compared with Dunkirk, London is more realistic and its development is more natural and smooth. Of course, this is based on more information and historical facts. Compared with World War II, World War I is a very strange history that happened at the farthest end of the mainland. I only know Sarajevo, Verdun and Trench Warfare. The application of a mirror in the end, I can feel the protagonist's fatigue better than watching hacksaw ridge and saving private life, as if I had met an ancient marathon, and I felt a strong sense of substitution. In the fierce war, some battlefield aesthetics have been added. The war is fierce, and ordinary people just want to protect their cherished beauty and family, just like the beautiful cherry blossom scenery. But just because of an order, I may be embedded in the trench. I was young then. Now I have the opportunity and the ability to protect my world.

The dark trenches, the ruins under the light and shadow, the rivers full of corpses and petals, and the requiem of soldiers are all strange and beautiful. If it weren't for the war, I might have leaned under the birch tree and let the breeze and sunshine touch my cheek, but they were left here after all, forever, no matter how time passes, they will not grow old.

The shooting method of long lens (pseudo-long lens) greatly enhances the sense of substitution in the film, but the following question is: under the constraint of lens, how can the director fill all the storylines into this limited time and space? The film gives a good plan. The director used "vehicles" and "rivers" to blur the sense of space and "coma" to blur the sense of time, thus making "two hours and eight hours" reasonable. In addition, roger deakins's photography is also a godlike existence, especially at night, which shows the light and shadow. If there is a hell in this world, it must be this scene.