How does Evil in China create a horrible atmosphere, and what clips scare you?

There are three cameras in the movie, one is the machine that mainly shoots this movie, the second is the machine that Ding Xin and Liu Meng use to shoot their own documentaries, and the third is the pinhole camera hidden in the cigarette case.

The three cameras are used alternately, each with its own function. The machine that often enters the picture not only fully expresses the interesting form of drama, but also does not waste it on shooting.

In fact, three cameras are the protagonists of this film. Camera A filmed Ding Xin and Liu Meng, and told the fate of Wang Po. Camera B recorded the shooting records of Ding Xin and Liu Meng, and pinhole camera played a great role in secret shooting at night.

It seems that all three are indispensable.

In particular, the night vision lens of pinhole camera presents a strange black and white in the monitoring picture, with a rough texture, and the feeling of fear has really improved a lot.

In fact, the highlight of the film is far from it.

1 10 minutes of film length, the first 30 minutes have been paving the way. From the angle of candid camera, I made an unannounced visit to three fortune tellers, and then Wang Po introduced the themes of "fortune telling" and "evil in the middle" to the audience. This kind of drama combined with mockumentary's technique is really ingenious, and the hand-held shooting from the first perspective adds a strong sense of substitution to the audience without any intention.

From the overall viewing experience, I didn't think it was a horror movie at first. In the local villages in Linyi, the conversations between the local people are almost oral and very daily. Although the conversation revolves around "fortune telling", it does not create tension, such as relaxed chat and even some humor.

Until the 30th minute of the movie, Wang Po's husband (Uncle Wang) drove Wang Po and took him to the remote Gangziwang Village to help people "return people". It was also at this time that the title of the film appeared, and the huge red font-"China Evil" appeared.

Just when we mistakenly thought that the film wouldn't be as horrible as we imagined, the director instantly reversed the relaxed atmosphere that had been presented before-Uncle Wang even sang a song while driving, entered the prison king, and saw Qing and his evil sister Li Chen, and the atmosphere of the film began to become a little uneasy.

The remote villages with few people, the narrow corridors with red lanterns, and the humble houses with dim indoor lights completely render an eerie atmosphere under the camera lens with high authenticity.

Perhaps the director's original intention is to let the audience enter the story without warning, and the difference before and after is also to create an unexpected effect.

When Wang Shu, Wang Po, Ding Xin, Liu Meng, Qing and Li Chen went to a village for dinner, two sentences in Wang Shu's mouth: "Three dishes are ceramium, five dishes are eight seats for the king" and "Full glass of wine, half cup of tea" revealed a strong superstitious color in this film.

The first night when the four of them lived in this dilapidated building was also the prelude to the whole movie, and the transition from front to back was very smooth.

The real "homecoming" is at noon the next day. When Wang Po was doing "The Resurrection" for Li Chen, Li Chen, who was lying in bed, suddenly became short of breath, got up and rushed to Wang Po's side, grabbed her neck and screamed at her, which made people feel that this Chen Li was really possessed. This explosive scene also pushed the film to a climax.

I should also be aware of the fear of that period. This fear stems from the fear of substituting yourself into the scene and the parties, and it is also from the heart.

After the failure of the "homecoming", Wang Po and others seem to be trapped in this village, and they can't get what they want when they want to go back several times. Then these two nights, the atmosphere of terror became stronger and stronger. ...

The images of hand-held and pinhole cameras are filled with an unusually quiet and trembling lens. The first angle shooting from upstairs to downstairs and around the corner makes people feel immersive, while Liu Meng's rapid gasps and screams behind the lens increase the effect of extreme panic.

Although the rhythm and atmosphere of the whole movie are completely different, when the movie ends, you can clearly feel the clear transition and clearly distributed paragraphs, getting better and better, step by step, and the degree of terror is gradually increasing.

At first, Ding Xin didn't believe these ghosts and legends, but Liu Meng mistook them for truth.

But in the end, the topic leads to "evil" again: Ding Xin insists that "Liu Meng was killed by a ghost", and Wang Po also says in the movie that "it can't be true this time". Uncle Wang seems to be possessed and killed Wang Po. ...

This is another meaning of "evil lies in the middle way". In addition to the intuitive explanation, the change of the initial position of the main characters in the film also makes this superstitious means suspicious, from never believing to dubious, and then from dubious to completely believing. This also explains why folk customs or superstitions exist in disguise today.

However, these things are also believed or not.

The real ending is actually a reversal. Whether you like it or not, this movie is always unexpected.

Finally, it is found that the so-called "evil in the middle" and "returning people" are paving the way for this carefully arranged murder case. And these superstitious rumors, folk customs and fortune-telling Wang Po are just tricks people play.

However, through the changes of Ding Xin and Wang Po in the film, it can be seen that some people firmly believe that even if they resort to deception.

This kind of truth and falsehood, together with "play in play" and "play in play", also played an echoing role.