The lobby of the dance academy has a few wooden statues with nipples, but it is very hard to see.
Ballerinas are central to the film. They are seen wearing form-fitting leotards.


Film review:Translated by www.rabudo-ru.com


(1) The opening of “wind gusts” is extremely terrible. The electronic music of goblin band, combined with the terrible sound effect penetrating the eardrum, forces you to directly follow the protagonist into this dreamy and enchanting world. In the taxi, Suzie’s face flashed constantly changing colored light and shadow; In the dark and dense forest, the mysterious woman was terrified and tried to escape the dark claws; In the dormitory of the Conservatory of music on a stormy night, a murder with a strong sense of form is going on Some people say that if you can survive the first 14 minutes, there will be no big obstacle after watching the film. Others say that the energy of the video opening is amazing, but it has become a mediocre work since then. I felt the same after watching this film for the first time more than three years ago, but today I review it and feel that it is a masterpiece.

(2) This film is worth watching for many times. Although the plot is not novel, it can even pick out many defects, and the narrative is not perfect, the audio-visual feeling is very different from any other horror film – Gothic electroacoustic soundtrack, strong and bright colors, strange and avant-garde lighting and Baroque setting are irresistible. Such a stylized horror film, How can we not make the horror film fans who are fascinated by the intense sensory experience cry out?

(3) In the color application of the video, the four basic colors of red, yellow, blue and green are the main colors, which are mixed or appear alternately in most scenes. The strong color difference contrast and surreal lighting give people a sense of falling asleep. Every frame is extremely beautiful. If you are not satisfied with the story itself, it is also good to directly appreciate one expressionist painting.

(4) Red and blue light appear most frequently, which is the top priority. After all, red and blue are the two poles of warm and cold color, which brings us the greatest visual impact. As the background color of the whole college building, red is also the color of blood. It is always reminiscent of passion, violence and death. The scene of students collectively making beds and sleeping in the auditorium surrounded by red curtain is impressive. Blue focuses on the night scene, especially when Sarah is chased and killed. In the scenes such as the magic murder at the beginning of the film, Sarah and Susie living in the same room and the assassination of the witch at the end of the film, red and blue appear at the same time and are mixed in layers. They are gorgeous and dazzling, or they can be interpreted as the contradiction and conflict between the two opposing forces.

Green is mainly used as ornament, which has appeared on murals and stained glass in colleges, bars and dance halls. Another scene is that Sarah is in Susie’s bedroom, and the frightening green backlight shines on Sarah, which indicates Sarah’s dangerous fate. The overhead camera of the bedroom after the light is turned off is a miserable green, just like the picture taken through the night vision instrument. After Sarah opens the door, the red light in the corridor penetrates into the room and shines with the green light on both sides of the other door.

In addition, the sapphire blue walls of the college hall and the Dai blue curtain at the secret crossing are also personal favorites~

(5) In addition to the three primary colors, the dense appearance of yellow / gold light in the climax and ending stages surprised me most. Yellow symbolizes warmth and hope, and means that light gradually overcomes darkness; Yellow also represents nobility and brilliance, which is consistent with the life experience and leadership of the immortal witch “Dark Queen”; Because of its high visibility, yellow can also be used as a signal of danger, indicating the arrival of the final competition between the positive and negative characters, and injecting new vitality into the optic nerve, which was previously full of red and blue and slightly aesthetic fatigue.

When Susie talked to the psychiatrist on the phone (1 hour and 10 minutes), she was dressed in a brown and flesh colored coat with gold carved decorative plates on the background, which was very classical, which should be regarded as a harbinger of a large-scale attack of yellow (gold). When Susie emptied the food and cleaned the sink, we saw that the walls of the bathroom were orange and the windows in the background were gold. The climax of Susie’s eavesdropping on the conversation and the assassination of the witch was brilliant and dazzling on the screen. After the witch was killed, Susie was bathed in the golden light, ran down the stairs through the chrome corridor, the lemon yellow lightning cut through the sky, the place behind him had been swallowed by the golden flame, the yellow dust was flying, and the evil nest spanning a hundred years was finally destroyed. After the test of crimson and blue, we and the heroine ushered in a bright new life.

(6) In addition to the four colors of red, yellow, blue and green, the solemn contrast between black and white is also interspersed in the video: the scene of dense forest on a rainy night at the beginning of the film is a wonderful display of the contrast between black and white. The girl in white in the dormitory symbolizes purity and kindness, and is often weak and helpless. College staff’s black-and-white shirts, suits and dance class students’ black / white tights naturally need not be repeated. The fine black-and-white stripes and patches in the black-and-white trumpet wallpaper (21 ~ 24 points) are enough to attract attention, which may be unbearable for patients with dense phobia.

In addition to the black and white in the film, there is one of the most attractive scenes – the blind pianist stays in the square surrounded by ancient Greek (Roman) style buildings, and the guide dog around him is gradually eroded by the mysterious dark forces of the full moon night, and finally tear the master to pieces. The boundless night and the pale buildings constitute a sharp contrast, with superior visual expression. The director switches between the close-up of people and dogs and the medium and close-up lens of the building, and occasionally inserts the large perspective lens of the overlooking angle (highlighting the isolation of the pianist and strengthening the power contrast between the pianist and the dark). He also uses the rising lens and the high-speed motion lens from the high-altitude dive to the pianist, which also intensifies the tension. The black-and-white color contrast, flexible and vivid mirror movement, rapid electronic music, harsh dog barking and strange words, all make the scene of the pianist’s death full of sense and unique charm, and become a small climax of the video.

(7) In terms of soundtrack, I don’t have the ability to analyze it in detail, just a little. You can compare this film with aguido’s previous work blood at night (1975). The soundtrack of the latter often weakens the horror of the video, and the soundtrack of this film must not be removed or changed, otherwise its charm will be greatly reduced. Although the soundtrack of blood at night is also created by the goblin band, it is only part of the cooperation. Most of the soundtracks tend to be monotonous, which is far less than the Yin wind in terms of diversity, melody and richness of equipment. In addition, in several key scenes (such as Sarah’s escape at night and Susie’s search for the chamber of secrets and killing the Witch), the film does not abuse the soundtrack and plays all the way to the end. Instead, it switches between silence and noise, sometimes cancels the music, sometimes focuses on the sound of threatening sound effects, and sometimes controls the rhythm with the soundtrack.

(8) Dario aquido’s videos are often highly formal, which is not only reflected in the color, setting and soundtrack, but also his good use of lens. I try to intercept a short dialogue (1:10:35-1:16:28) to have a brief look. (why not take a thrilling horror scene analysis? Er, it’s too scary to take into account the use of every shot…)

Douban comments do not support tables and pictures, which is a little embarrassing, because the pull sheet table will be more concise and clear in this conversation. Here, we can only use words instead of tables. Next, I will make a brief analysis according to the sequence of lens sequence number, scene type, lens motion, sound, length and lens attributes.

1. Vision; Shake down the zoom lens; Ambient sound, wind sound, dialogue sound; 23 seconds; This is a positioning lens to explain the environment after the transition. The lens first aims at the top of a high-rise building at an elevation angle, and then swings down to the level, facing Susie and the psychiatrist who is Sarah’s ex boyfriend (hereinafter referred to as the doctor). The lens zooms forward, and three passers-by blocking them draw to the right. The two talk, and the lens is basically fixed.

2. Close range; Fixed lens; Ambient sound, wind sound, dialogue sound; 42 seconds; In the double shot, the two sit beside the flower bed and look at each other. The background is the glass door wall on the ground floor of the building. The light wind blows the saplings and hair. The two talk and explain the relationship between Sarah and the doctor.

3. Close up; Fixed lens; ditto; 4 seconds; Close up of the doctor’s face on the front and side (face towards the right side of the picture), low overhead shooting, the background is blue sky and white clouds, and the doctor begins to tell the secret background of the college found by Sarah. The close-up overhead shooting shortens the distance between the audience and the doctor, and the audience is in a threatened passive position, paving the way for the unveiling of the mystery.

4. Close up; Fixed lens; ditto; 4 seconds; Close up of Suzie’s face on the front side (facing the left side of the picture), shot from a low position, with blue sky and white clouds in the background. Suzie is listening attentively, and the lens function is the same as above. Shots 3 and 4 constitute the pros and cons of the two people’s dialogue.

5. Close up; Fixed lens; ditto; 3 seconds; The doctor continued to reveal the truth.

6. Close up; Fixed lens; ditto; 7 seconds; Another group of positive and negative shots, the doctor said, the local people think that Helena, the founder of the college, is a witch.

7. Close up; Fixed lens; ditto; Less than 2 seconds; The doctor said, “I guess you know about it?”

8. Close up; Fixed lens; ditto; 15 seconds; Susie thought she had heard something similar, but she didn’t remember. This is the third set of positive and negative shots.

9. Panorama; Fixed lens; ditto; 5 seconds; The two people sitting on the flower bed are on the right side of the foreground picture, with a large depth of field. On the left side of the background picture, 7 ~ 8 people are talking together. The doctor continues to explain the previous history of the witch.

10. Close range; Fixed lens; ditto; 5 seconds; Double shot, Susie is on the right side of the picture, facing the camera directly, the doctor is on the left and on the back side. The doctor said, “she seems to have done something to make the believers persecute her.”

11. Close range; Fixed lens; ditto; 7 seconds; The double lens, with the doctor on the left and the front side facing the lens, Susie on the right and the back side. The doctor said that she wrote a book called “the dark queen”. These two double lenses can also be regarded as a pair of positive and negative shots in essence, because the focus of the lens is the person who shows his face, and the two stands are constantly reused next.

12. Close range; Fixed lens; ditto; 7 seconds; The same as 10, the doctor said that the witch settled down and became the protagonist of many rumors.

13. Close range; Fixed lens; ditto; 10 seconds; In the same position 11, the doctor said that the witch managed to raise funds to establish Tam college, which mainly taught dance and mystics at first.

14. Close range; Fixed lens; ditto; 16 seconds; According to the doctor, the witch died in a fire when she was 100 years old in 1905. Then her students took over the college and cancelled the course of occult science.

15. Close range; Fixed lens; ditto; Less than 7 seconds; The seat is the same as 11. The doctor explained that this place will soon become a famous dance academy.

16. Close range; Fixed lens; ditto; 7 seconds; In the same position 10, Susie asked what the witch was.

17. Close range; Fixed lens; ditto; 3 seconds; The same as 11.

18. Close range; Fixed lens; ditto; 12 seconds; The same position as 10. The doctor believes that the belief and spread of mystics and magic are part of psychosis.

19. Close range; Fixed lens; ditto; 2 seconds; The plane is the same as 11. The doctor spits out philosophy. Bad luck is not brought by breaking a mirror, but by bad mood.

20. Close range; Fixed lens; ditto; 4 seconds; In the same position 10, the doctor got up and called Professor Milos (hereinafter referred to as the professor).

21. Close range; Fixed lens; ditto; 5 seconds; When the three talked, the professor turned and agreed and walked towards the camera.

22. Broad vision; Fixed lens; ditto; 5 seconds; In the aerial view, the camera should be shot outdoors with a window protruding from the top floor of the high-rise building. The composition is inclined. The picture is divided into two parts by the building on the left and the square ground scenery on the right. Pay attention to the shape of the flower bed. Multiple circular arrays remind people of the mysterious ancient totem. This scene is very different from the previous series of shots, It has strong visual impact and can be regarded as rhythm change. The position similar to “God’s perspective” also gives people the feeling that there are gods overlooking mortals, highlighting the smallness and helplessness of the characters.

23. Medium close range; Move the lens – push the lens; ditto; 55 seconds; In a long shot of slow motion, the professor (1 on the left) and the doctor (2 on the left) are standing, Susie is still sitting on the flower bed, and the three are at the three vertices of the triangle. The doctor introduced Susie to the professor, and then the doctor painted to the left. During this period, the lens always moved slowly to the left and forward, close to the professor. The professor sat down on the flower bed and began to talk with Susie. The camera framed them and gradually pushed them forward to the fixed seat. The previous lens basically remained stationary, with a length of less than 16 seconds, mainly 4 ~ 7 seconds. The changes in movement and length not only enrich the lens form, but also bring freshness to the audience, so as not to be bored by the long dialogue. After all, this is a horror film, and so far, Goblin’s electronic soundtrack has disappeared in this dialogue scene, which requires formal adjustment to catch the audience’s attention.

24. Close range; Push the lens; The faint wind, the low voice of the film theme song, the sound of conversation; 9 seconds; The professor is facing the camera. Susie’s back brain is facing the audience. A long hair occupies 1 / 3 of the picture. The camera changes from fixed to slow forward. The professor is introducing the powerful ability of witches. The playing of the theme song marks that the professor will provide Susie and the audience with key information about witches. The slowly advancing lens cooperates with the rhythm of music and leads the audience to approach the truth behind the scenes step by step.

25. Close range; Push the lens; ditto; 4 seconds; Facing the camera, Susie turned the back of the professor’s head towards the audience. This was the reverse shot of lens 24 (the outer reverse shot was over the shoulder). The camera still pushed forward slowly and approached the characters. The atmosphere became tense gradually. With the sound of the wind, there was a tendency of “mountain rain is coming and the wind is all over the building”.

26. Close up; Push the lens; ditto; 4 seconds; The plane is the same as 24, but it has been pushed to the close-up scene. The professor said that witches can change the development of things and people’s lives, but they will only cause harm. He asked Susie, “don’t you believe me?”

27. Close up; Push the lens; ditto; 9 seconds; In the same position as 25, the camera continues to push forward. The professor said that their goal is to accumulate personal wealth, but only by hurting others.

28. Close up; Push the lens; ditto; 3 seconds; The plane is the same as 24. Due to the continuous advance of the camera, their heads have occupied half of the picture.

29. Close up; Push the lens; ditto; 6 seconds; The plane is the same as 25. Their heads have been filled with screens. The professor said, “they can cause pain, disease and even death… No matter who, no matter for any reason, just annoy them.”

30. Close up; Push the lens; ditto; 5 seconds; The plane seat is the same as 24. At this time, the picture can’t hold the complete heads of the two people. The professor asked Susie where his interest in mystics came from.

31. Close up; Fixed lens; ditto; 10 seconds; The plane seat is the same as 29. The picture is very full and tight. It can’t move forward any more, so it stops moving. Susie answers the professor’s questions and leads to the topic of the witch Helena.

32. Close up; Fixed lens; ditto; 9 seconds; In the same position 30, the professor lamented the power of witches.

33. Close up; Fixed lens; ditto; 8 seconds; In the same position as 29, Susie further explored the information of the witch. Only half of Susie’s face and left eye were exposed, and the rest was covered by the professor’s head. This composition seemed more compact and dense than the previous lens, which further exacerbated the viewer’s tension and uneasiness.

34. Close range; Push the lens; ditto; 28 seconds; In the special form of “mirror” double lens, at the beginning, the professor and Susie in the foreground are separated on the left and right sides of the picture. At the gap between the two people occupying more than half of the picture is the glass door of the building in the background. The glass door is like a mirror, reflecting the figure of the two people. The camera keeps pushing forward in the zoom mode, and the portrait on the glass door is gradually clear and enlarged. Finally, the image of the two people reflected by the glass door completely replaced the position of the real person. The composition after the camera stopped zooming in is very similar to that at the beginning of the lens: the mirror images of the two people are separated on the left and right sides

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