简要：This story may seem simple on the surface, but it has proven to be more layered and textured than Casawitz's best form, especially after watching it multiple times. On the surface, this is about a 14-year-old Catholic girl, Wynne (played by Agutter), who grew up in this postmodern wasteland and developed a crush on her adopted brother (played by Marshall) - once she began to believe that he was a local sex killer, this crush would abnormally deepen and develop into a crush. This itself is an idea that makes you sit up and be shocked, but as the narrative develops, it does not necessarily continue along a linear path, but in several confusing and fascinating directions: the history of this family (effectively described in detail with a chilling flashback during an impromptu meeting) is a tortuous one that has undergone at least one major relocation and upheaval in the past decade. However, the key is the description of social changes, which makes "I Start Counting" so captivating and makes its language far beyond the scope of standard horror films. The main subtext is that teenage girls mature faster than before, developing full sexual and romantic desires (even in thought rather than action), but without sufficient discretion to make the right choices. This is a step forward for a type of young woman who was previously portrayed as a slut victim (with "Cover Girl Killer" and "Night Caller" coming to mind), but not all viewers will agree. But the most eye-catching, perhaps the most enduring image that the audience will take away, is the exquisite symbol of director Green's dedication in every shot. Every inch of the Jinqi family's world - their house, walls, television, Agut's underwear, bedroom furniture and toys, Sarcliv's clothes, Marshall's van, local Catholic church, city center, record store - is painted bright and shimmering white - it is speculated that this white is slowly being stained and corroded by external dirt. Of course, white also symbolizes purity and innocence (two qualities that Catholic female students should cherish), and it is in this innocent world that the eternal red bus (a symbol of invasion and infiltration) driven by lecherous but equally young Simon Ward runs regularly. In one scene, Agut believed she saw the Christ statue in the church bleeding: when we acknowledged this, it was gone, but the seeds had already been sown. In a genre of work, the use of color and background is rarely so important or effective in creating consistent emotions. 'I Start Counting' is the perfect ending that people hope for in ten years, which is the movie that people should make now - and of course, that's why they will never make it. An essential genre. By D.R. [email protected]
This story may seem simple on the surface, but it has proven to be more layered and textured than Casawitz's best form, especially after watching it multiple times. On the surface, this is about a 14-year-old Catholic girl, Wynne (played by Agutter), who grew up in this postmodern wasteland and developed a crush on her adopted brother (played by Marshall) - once she began to believe that he was a local sex killer, this crush would abnormally deepen and develop into a crush. This itself is an idea that makes you sit up and be shocked, but as the narrative develops, it does not necessarily continue along a linear path, but in several confusing and fascinating directions: the history of this family (effectively described in detail with a chilling flashback during an impromptu meeting) is a tortuous one that has undergone at least one major relocation and upheaval in the past decade. However, the key is the description of social changes, which makes "I Start Counting" so captivating and makes its language far beyond the scope of standard horror films. The main subtext is that teenage girls mature faster than before, developing full sexual and romantic desires (even in thought rather than action), but without sufficient discretion to make the right choices. This is a step forward for a type of young woman who was previously portrayed as a slut victim (with "Cover Girl Killer" and "Night Caller" coming to mind), but not all viewers will agree. But the most eye-catching, perhaps the most enduring image that the audience will take away, is the exquisite symbol of director Green's dedication in every shot. Every inch of the Jinqi family's world - their house, walls, television, Agut's underwear, bedroom furniture and toys, Sarcliv's clothes, Marshall's van, local Catholic church, city center, record store - is painted bright and shimmering white - it is speculated that this white is slowly being stained and corroded by external dirt. Of course, white also symbolizes purity and innocence (two qualities that Catholic female students should cherish), and it is in this innocent world that the eternal red bus (a symbol of invasion and infiltration) driven by lecherous but equally young Simon Ward runs regularly. In one scene, Agut believed she saw the Christ statue in the church bleeding: when we acknowledged this, it was gone, but the seeds had already been sown. In a genre of work, the use of color and background is rarely so important or effective in creating consistent emotions. 'I Start Counting' is the perfect ending that people hope for in ten years, which is the movie that people should make now - and of course, that's why they will never make it. An essential genre. By D.R. [email protected]展开
