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The Kodak Theater was dead silent, and the screen story made every audience feel hurt.

Even if you know this story well, even the original readers have no ability to resist and are overwhelmed by this grief. Those images are not as bloody and violent as an R-level horror movie, but they have the thrilling power that any horror movie covets. Every line and every picture makes the heart tremble.

Just like the end of the world, you can't escape or avoid it, but you can only destroy it.

It seems that at this time, people suddenly remember who the director is, and another name of Ye Wei, Yunik Kule. This person is not only filming funny, sunny, inspirational, and warm people's hearts. This person also films grief, darkness, destruction, and lingchi people's hearts.

Watching his movies may mean that there is an eternal shadow deep in his heart.

From time to time I think of it, it is burning and sore, and a palpitations.

It is caused by human nature.

The film has been screened so far, the more surprised the audience who understands the movie. It can be said that the filming is almost perfect. Whether it is adapted, director, performance, etc., they all show free movement and amazing explosive power, forming excellent construction and destruction, but the most amazing thing is that Ye Wei is really bold!

Genius, if you are going to be heartbroken by the audience, then you did it, with your cold-blooded camera. You damn bastard! Then what?

What will Mr. Harvey end? After escaping for many years and committing crimes repeatedly, he accidentally fell off a cliff and died?

Where is the Shameng family? Where is Lei? Where is Suzy!?

What is this movie going to do, why is it going to make such a tragedy? Just to torture people with conscience?

Many media people and many movie fans who are full of sorrow know that this is the "cute bone problem". It is not a typical tragedy. The original work can be shot into a classical three-act linear structure, which is exactly the appearance on the screen. The first act is not easy to shoot, but it is not difficult for top directors. Ye Wei's directors are impeccable. What should I do afterwards?

If the screen did not heal the hearts of the collapsed audience afterwards, even if there was a little bit of a mismatch, there would be only another result, and the grief and anger turned into dissatisfaction: "What the hell is it? What's the point of this story? Teasing us?"

Then this director will be in trouble, this movie will be in trouble, and Ye Wei will be in trouble!

Peter Jackson and Fran Wales were a bit lively. They would not deal with the cave scene like this when they filmed. Parallel montages should be used, but metaphorical techniques should be used. While shaping how damn Mr. Harvey is, they should try to gently convey the story of Susie's murder. Ye Wei no, he used the cruelest way that can be used at level 13. He was simply a bitch. He dared to use the last two lines. How should he heal? In a limited time? At a rhythm that needs buffering, there are only 90 minutes left!

Ye Wei disdained their rock music and grandmother clown's montage idea, and did not despise Susie's happy moment in heaven. What would it be? Too dark to such an uncontrollable level? He was digging a trap for himself! The grief and anger that erupted in the first act was, how difficult it would be to calm down later.

It's like playing a maze game. Ye Wei is now pushing himself into the most complex maze with one hand, facing a series of endless and arduous creative choices. Reasonable sorting, effective story coherence, unified and persuasive emotions, and echoing themes. If he wants to do these, he must go on every path and not make any mistakes.

This is either a perfect or a terrible movie.

Spielberg once wanted to shoot, but in the end he didn't take over because he knew that he was not the most suitable match for this story. This story cannot be made with ordinary movie rules, and there is no template for commercial or artistic positioning, so he can only create it with matching talents.

Seeing now, his moist eyes told him that the kid was photographing so well and did not disappoint others' trust. Keep it until the end and make it a classic.

The sadness of the theater could not stop the screen image from continuing. After a moment of darkness, the red Mazda stopped in front of a family in the community under the dark night sky. Jack ran to the porch of the room, rang the doorbell, and the jingle rang in the audience's ears.

When the camera hit back again, Jack at the door came into the front of the camera, and there was a sound of opening the door. He immediately said anxiously: "Hello, Luanna, Susie and Lei are together?" The camera was passing the shoulders, and the door was opened by an elegant middle-aged Asian woman. She replied in confusion: "Lei went to Pennsylvania with his father this afternoon to give a speech and will not come later."

Jack looked disappointed when he heard this.

The parallel montage did not end. The panoramic shot of the flat-shot cornfield was filled with strange fire in the dark night. A ridge of the field was lit. The sound of the wood breaking and the collapse of the cave sounded, which made the audience feel heartbroken. The scene of the murder was buried.

In the middle view of the side, Mr. Harvey walked between the ridges with a burlap bag on his back; the close-up view of the scenery was full of bulging cloth bags without blood, but the plastic paper stretched out from the mouth of the bag indicates what was laid in the bag; in the close-up view of the front, Mr. Harvey looked straight ahead, as if he had broken the fourth wall and looked directly at the audience.

As he walked, he took a deep breath due to his efforts, as if he had smelled something. The middle-aged man with bearded smiled, not gloomy and ferocious, and looked gentle, as if he was enjoying himself, as if he was innocent, as if he was proud of his crimes that he could escape from justice this time.

Rather than saying it is Mr. Harvey, this movie is constantly challenging and infringing on the audience's bottom line.

Next to the TV cabinet in Shameng's living room, Abigail was making a phone call with a black dial. She said anxiously: "Her name is Susie Shamon, 14 years old, brown-blonde hair, gray-blue eyes." The other end was obviously a policeman's voice: "How long has she been missing?" Abigail said anxiously: "She hasn't come yet after school today." The policeman was silent for a while and said: "Madam, have you ever looked around?"

Abigail shouted a little loudly: "My husband is looking for it. Susie won't come back so late. Something must have happened." The police said unmoved: "Madam, we cannot file a case. If you can't find her after 24 hours, call me again." Abigail was shocked and angry and anxious, "24 hours?" The police officer said: "Yes, this is our waiting time, I wish you good luck." Before Abigail said anything, the phone was hung up.

She was angry, and the audience off-screen was angry, bullshit the 70s!

In that era, the United States had no mechanism to deal with the disappearance of children. Police stations in various places had "waiting time" to deal with missing reports. It was not changed until the "Eitampaz incident" on May 25, 1979. The 6-year-old New York boy who disappeared on the way to school is still missing.

As the scene changed, under the night sky, Jack ran anxiously on the streets of the town to look for his daughter. He showed passersby a photo of a three-person brother in his wallet. Susie hugged Buckley, Linsie leaned against her, and the three of them smiled naturally.

"Hello! Have you ever seen this girl? Her name is Suzy, my eldest daughter."

Jack anxiously asked the group of four young people passing by, but after they looked, they shook their heads again. Jack ran away immediately before he could thank him. He looked at the surrounding streets and shouted anxiously: "Suchy!?"

Suddenly, some of the wooden audience who had not left the cave were finally broken, and they burst into tears.

The screen image suddenly made the audience feel a little bit of self-deception. It was Susie! She was not dead.

On the cornfield, Susie panted in fear and ran away, still wearing a royal blue hooded coat and yellow bell-bottomed pants and a bell-colored hat. At this time, she ran to the school football field, and the empty surroundings were as silent as ghosts. A scene that made people stare at the big eyes and tense appeared. Susie ran past a street light, not only without reflection, but also began to become faint.

The camera was in the school parking lot. Ruth was leaving alone. She was in a black coat and a brown crossbody leather bag. The school building in the background was still lighted. This weird student seemed to be punished by the teacher to stay in class until now. Ruth suddenly looked to the left in confusion, as if she had seen something.

As panicked gasps approached from a distance, a figure rushed from the far end of the parking lot in the depth of field, Ruth murmured in surprise: "Suchy?"

Regardless of whether or not the story is known, the audience naturally understood that Ruth was a psychic and she saw Susie's soul.

Susie ran over in panic, and Ruth called out again: "Susi!" Susie on the right stopped, looked at her friend, and wanted to say something but could only say something: "Rus"

This sound made the already broken audience's heart fall into the abyss even more. Susie was not asking for help, but she wanted to cry, but what did she say? She knew that she knew what had happened and she could never be "Susan" anymore.

The side of the double, Ruth is on the left and Susie is on the right. In this shot with the same shooting angle as the side of the double on the side of the previous school auditorium stage, their positions are adjusted to each other, and their lives are also different, one is about to start a new beginning and the other is over.

The two girls looked at each other, Ruth's expression was questionable and caring. What's wrong? Susie's expression was extremely complicated, painful, confused, panicked and scared. She seemed to have ten thousand words to say, but couldn't say a word. At this time, Susie slowly raised her hand to touch Ruth's cheek.

In the front close-up, Susie's expression was visible to change, from a stagnant silent state, her eyebrows frown slightly, and her eyes were filled with tears. Every audience could see her attachment. She didn't want to leave the world, did not want this to happen, and did not want to be herself.

She opened her mouth as if she was about to cry and was about to speak, without making any sound, and her face began to disappear with the wind.

Ruth's frontal close-up, with Susie's right hand on her left cheek, her face no longer had doubts, as if she understood the situation in front of her or a dream? She also frowned slightly, her eyes were lost, and she was even more anxious, a little apologized, she wanted to say something, but she didn't know what she could say.

She couldn't stop what she wanted to stop, and couldn't keep what she wanted to keep, and always could only watch, just like now, watching Susie disappear.

In just three or four seconds, the audience watched as the slender hand on Ruth's face completely disappeared.

In the middle scene on the side, Ruth is alone looking at the left, with nothing on the right. The camera is rising, rising to the dark night sky.

More viewers' eyes burst into tears. Everything on the screen was like a giant hammer with thorns, hitting their hearts one by one. Maybe the first one was not shattered, but the second one, third one, and fourth one did not relieve any room, leaving no breathing or optimism, just keep beating!

In this way, they brutally destroyed all their good wishes until they were desperate.

On the screen, Jack walked into the house in a daze and dejected manner, Abigail stood in front of him at a loss. In another girl's bedroom, Linsey lay flat on the bed covered with a blanket, expressionless, looking up at the ceiling with her eyes open. In the children's bedroom, Barkley slept soundly, and lay down beside his small bed on holidays.

In the piano sorrow like the sound of raindrops in the eaves after the heavy rain, a white light covering the screen changed and then the opening scene was immediately followed by the scene. Susie was in front of a broken house in a small round snow surrounded by a dark forest. Heavy snow was falling and crows were flying. She reached out to pick up the snowflakes and looked at the claustrophobia around her in confusion.

The audience's hearts were dead. After the good people passed away, they went to heaven, but this is Suzy's paradise?

There is no heaven there.

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