The style and characteristics of Lou Ye's films.

Lou Ye's films have formed a stable author's film style from the first novel, The Girl in Danger (1994) to The Mystery of a Floating City (20 12):

Pay attention to the ordinary people in society, especially the bottom and marginal people, who vacillate between firmness/fragility, loyalty/betrayal, truth/disguise and memory/forgetting, and the nihility of history and reality caused by it. They prefer violence and sexual content, pursue the documentary photography style of holding hands and shouldering shoulders, express their gray cognition of the world with gray tones, and show their pity and sympathy for people under the cruel appearance.

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As an important means of documentary shooting, hand-held photography has been widely used in Lou Ye's films, which has become an important embodiment of his personalized image style. Compared with the accuracy and stability of fixed seats, hand-held photography often brings shaking and virtual focus, which is a rough and orderly aesthetic experience.

Many fighting and running scenes, especially the fighting scene between Yang Jiadong and Jiang Zicheng in the car, are superimposed and quickly edited by means of collision and rotation, so that the audience can evaluate "the special effects of watching a 2D movie in a 4D movie". The protagonist frequently hits the picture frame, breaking the closed and stable composition and space, and extending more space in the extension of the painting.

At the same time, the reality of hand-held photography also shows the interest entanglement behind the relationship between the four corners and the dark and complicated extreme psychological state of the characters. For Xiao Nuo, the domestic violence since childhood and the love entanglement of the previous generation made her confused and indifferent, and the shaking lens showed her inner anxiety and loss.

Facing the burning fire, Jiang Zicheng left tears, perhaps lamenting the depravity of his soul. The film depicts the tragic fate alienated by power and interests with close-ups of hand-held photography.