2018's "Gag Boundary" uses a linear structure, first with the male/father as the main narrator, telling the history of the family struggle to survive and feed, and as the timeline goes by, the focus of the plot shifts to the woman/mother after the pot.
Gagnor II choreographer John Krasinski once again collaborated with hearing-impaired actor Millison Simmons as Regen, the eldest daughter of the Alberts. Silent, stormy, and speechless, this is probably my most intuitive expression of this film.
Aveline, a grievous and helpless single mother played by Emily Blunt, is unable to live in a knee-deep hiding place after shooting the alien creature with a gun in her own radio chamber.
Thus forced to disperse twice: this is a terrifying alien creature that has once again shattered the beautiful hopes of a middle-class family utopia after landing in a quiet and harmonious American town.
<h1 class="pgc-h-arrow-right" data-track="43" > a film that explores the heart</h1>
Originally scheduled to premiere in 2020, but postponed to 2021 for various reasons, "Gag II", John Krasinski, who is also the director, once again joined hands with his beloved wife Emily Blunt and the original team to open the scene in flashbacks, combing through the "normal life" before the invasion of ferocious alien creatures and the "catastrophe" in the later period.
The family has fallen apart, with an independent narrative of the self-growth between the characters, and the synchronizing of the Alberts' son Marcus and daughter Regen in the Secret Room and the Radio Room against alien creatures, respectively, underscores the film's emphasis.
If the end of "GagJie" is the two clicks of the mother's loading, indicating female strength; then the juxtaposition of the ending of "Gagjie II", which looks directly at the stoic tenacity of young boys and girls with a wide-angle lens, implies that "children" have a glimmer of hope in unforeseen dangers, and the meaning of its inheritance is self-evident.
Many viewers are fascinated by the horror thrillers that use light, shadow and sound effects to explore the dark emotions of the human heart, but in fact, they are preparing for the primitive fear of "plunder/violence" and "death/contagion": pre-experience in the fictional world allows us to prepare for the unexpected events of the real world.
Viewed in Sigmund Freud's 1919 book On the Weird, horror films offer a second-hand frightening experience to explore the self, evoking long-buried emotions and the long-forbidden desire to kill and self-destruct.
<h1 class="pgc-h-arrow-right" Data-track="44" What is the horror of >? </h1>
In the case of Jung's doctrine, the appeal of horror stories lies in their contact with primitive cultural emotions, and their emotional templates are deeply imprinted in the collective subconscious of everyone, triggering deep emotional resonance by watching movies or texts rather than sacrificing their own lives.
If Reilly Scott's "Alien" series is the alien and filthy fear of the possession and deprivation of unknown species; the 2016 Yan Shanghao", the "Corpse Speed Train" is the fear of the end of the human race of unknown virus zombies, then the "Gag" and "Gag World II" that combine "Alien" and "Corpse Speed Train" explore the threat of death caused by foreign invasions, and it is an unspeakable spiritual fear.
The audience's doubts may come from the fear of deafness, but Regan's own fear lies in the fact that she has no idea whether the footsteps, collisions or hoarse sounds she makes will cause a bite and surprise attack from a ferocious alien creature.
Previously, her father, Li Albert, silently upgraded Regen's cochlear implant in his basement, and this embarrassing and introverted, unconditional father's love transformed into a high-end weapon: Regan found that the alien creatures feared high-audio sound waves, so she designed a portable microphone to transmit high-frequency noise from the cochlear implants to delay the attack speed of the alien creatures and fight for the time for her family to resist.
Father Lee Albert only wants food and clothing for his family, but the bereaved Regen ignores fear and resolutely decides to step out of the safe range and find a recording and radio station at the other end of the town's railway station to broadcast high-frequency noise - in order to fear terrorism.
<h1 class="pgc-h-arrow-right" data-track="46" > specific reference to lenses</h1>
Moving from his basement to an abandoned foundry (symbolizing the end of human production), Regen's brother Marcus and Regen signed occasionally, indicating that the song "Beyond the Sea" has been looping for four months.
Regan left a note the next day, "Keep Listening," and embarked on an unpredictable journey into the unknown. The film narrative uses the "surrogate father", which transfers the narrator from her parents to the next generation, and the pattern is expanded.
The song "On the Other Side of the Sea" was originally a French song by Charles Trenet, La Mer, and the English version was popular in 1959 by Bobby Darin.
Although the original French version is an ode to the sea, the English version of the lyricist Jack Lawrence filled in as a love song. With musical songs without unnecessary character dialogue, the boundaries of "Gaggite II" are pushed from the United States mainland to the coast of the islands, and the father's love and courage that were originally silently supported are also spread to a broader realm.
As Regan quietly passes through the empty railway station (symbolizing the population catastrophe), the photographic angle is low through the abandoned railway platform, close-up of Regen's footsteps, the tone is orange and yellow retro, while the station floor is piled with dirty shoes and briefcases, and waste paper is scattered (representing the loss of human civilization).
< h1 class="pgc-h-arrow-right" data-track="50" > the connotation at the end</h1>
The choreographer uses the hint of the massacre image at the station to contrast the "physical fear" (the physical damage of each character) and the "fear" (the Albert family almost suffocated to death, and the camera will stop for at least two seconds, so that the audience can experience the fear of "invisible and untouchable" in front of the screen, and the large-scale dark scenes of this film account for 75% of the total length of the film), and the "unknown fear" on the journey depends on the help of unknown strangers.
When the hope of solving the national crisis sails to the unknown island, the desperate husband/father played by the Irish acting school Sini Murphy replaces the absent father's love and the supreme goodness of human emotions, becoming the glimmer of hope for the elimination of fear and spiritual support.
The choreographer still does not explain where the ferocious alien creatures come from and why they invaded, but the silent and lonely fear in "Ghoul" is more ferocious and rough than in "Gamma II".
If we look at the murderous fear of noise expansion, the eyeless alien creatures in "Gag" allude to today's global totalitarian governments/police, and stand up against the originally silent independent individuals in "Gimmick II", but they are satirizing the atmosphere of suppressing free speech.
Sometimes the horror is not the intrusion of the outside world, but our hearts.
Thank you for watching, paying attention to me, and learning more about it.