After shuddering, I felt a huge surge of sadness. This movie was so poetic and cruel, so amazing that I still haven’t recovered yet!]

The most important thing is that this ten-minute long shot not only explains the identity of the protagonist, but also explains the environment and daily life of the entire army. It allows the audience to see bunkers, daily training, underground tunnels, and trenches, and it also gives the audience a sense of immersion.

So true.

But it’s that strong sense of immersion, reality, fear, sadness and anger that directly overwhelms you. It will definitely be a regret if you don’t experience this kind of movie-watching experience in your life.

Chu Tian, ​​the editor-in-chief of Sina Entertainment, asked his colleagues around him in confusion: "It's really a long shot? No editing?"

But the long shot in "Gravity" is essentially a special effects shot, so it can only be said that the director's storyboard design was too powerful.

[I can only use three words to describe "1951": horrifying, cruel, and true.

And it has great stamina!

This kind of immersion is unprecedented. It gives me the feeling of playing a first-person action game. On the big screen, you follow the two protagonists through fields of trees withered by bullets, and speed with them through shells and shells.

The ruins of the shrouded walls, and the corpses they saw with their own eyes were strewn across the fields and rivers of blood flowed into them.

To be honest, the story is quite simple. It is a road movie among war movies, but the information density is extremely high.

The one-shot, poetic shot with a war-damaged aesthetic overlays this minimalist story with layers of rich emotions, excitement and worry, tension and relaxation, determination and despair, sadness and awareness.
Chapter completed!