What struck me the most after watching this film was the immense sense of irony it evokes. The director, Hong Eui-jeong, completely breaks away from the traditional cold tone of crime films. She uses an extremely bright, fresh, and almost fairytale-like color palette to tell an incredibly dark and heavy story. This strong contrast between the visuals and the content is like wrapping a rusty blade in colorful candy. What amazed me most was Yoo Ah-in's acting. He doesn't have a single line in the entire film, but he uses his awkward physique after gaining weight and his eyes, filled with complex emotions, to bring to life a silenced person forgotten by society. The character setting of the little girl, Cho-hee, is also a stroke of genius. Her maturity and obedience are not due to being sensible, but a survival instinct honed in extreme circumstances, which sends shivers down one's spine. This film doesn't intend to discuss good and evil; it simply tears open a corner of life, showing how those struggling in the gray area try to grasp a glimmer of illusory warmth in silent despair. This is definitely a highly potent masterpiece of the year that will leave you in a long silence after watching it. 【电影介绍】烈日当头，两个看起来憨厚老实的男人正在田间忙活，一个瘸着腿嘟嘟囔囔地祈祷，另一个体型壮硕却像个闷葫芦。如果不是他们脚边那个装在黑色塑料袋里的物件，你可能会以为这只是两个勤劳致富的农民。这就是泰仁和昌福的日常，他们是黑道最得力的清道夫，不杀人，只管埋。 这种扭曲而平静的生活，被一个叫初喜的11岁女孩彻底打碎了。原本只是帮大佬代管几天货物，谁知大佬突然暴毙，这块烫手山芋就这样砸在了两个底层边缘人的手里。一个不说话的哑巴，一个话痨的瘸子，带着一个异常冷静、甚至会主动帮绑匪做家务的小女孩，在阳光明媚的乡下组成了一个荒诞又温馨的临时家庭。然而，这种建立在犯罪之上的宁静，就像在火药桶上跳舞，危险正悄无声息地从四面八方包围过来。 【观影点评】看完这部电影，我最直观的感觉就是被一种巨大的讽刺感击中了。它完全打破了传统犯罪片的冷酷基调，导演洪宜廷用了一种极其明亮、清新甚至带点童话感的色调，去讲一个极其黑暗和沉重的故事。这种视觉与内容的强烈反差，就像是在色彩鲜艳的糖果里裹了一枚生锈的刀片，让你在感叹画面绝美的同时，心里又隐隐作痛。 最让我惊艳的是刘亚仁的演技，他全片没有一句台词，却靠着增重后的笨拙体态和那双写满复杂情绪的眼睛，演活了一个被社会遗忘的失语者。那个小女孩初喜的角色设定更是神来之笔，她的成熟与顺从不是因为懂事，而是一种在极端环境下为了生存而磨练出的生存本能，这种超脱年龄的圆滑看得人脊背发凉。这部电影并不急于讨论善恶，它只是撕开了生活的一角，让你看到那些在灰色地带挣扎的人，是如何在无声的绝望中，试图抓住一点点虚幻的温情。这绝对是一部后劲极强、让你看完后会陷入长久沉默的年度佳作。