Uh... I've been so busy recently that my head hurts. I can't even guarantee that I can't even write 5,000 words a day. Work is the most troublesome. Let's comfort me with some recommendation tickets.

More albums were found by Hayley from Jeff's bedroom. Some of the girls on it were tied up, some of them looked blurred, and some collapsed on the ground. Although they were just some photos, they could make people understand that these girls did not have the ability to resist at all when taking pictures, and could only make people do whatever they wanted.

"Scum!" Daisy whispered.

Everything shows that Jeff is not just a pedophile, but also a very dangerous kind.

Hayley poured another glass of water and poured it into Jeff's mouth, and the picture turned dark again.

When the screen lights up, Jeff lays on his back on his workbench, without clothes on his lower body, but just covers a large bag of ice at a critical position.

The little girl is about to castrate this pedophile!

Daisy felt very satisfying, but the corners of her male companion's mouth leaped.

At the end, at some point, Tony Gusman moved two rows forward, and he thought the film was becoming more and more interesting.

Unlike others, Jones Butler laughed. As a working woman, she suffered some unfair treatment due to her gender issues. Seeing Hailey's upcoming castration drama, she felt inexplicably happy.

Because of his own relationship, Baker Larcent is relatively calm and just looks at this scene from a professional perspective.

The director named Murphy Stanton used a down shot here to show Jeff's hands tied up, move the camera from top to bottom, scan Jeff's body until the lower body covered by ice, clearly explaining Jeff's state and laying the groundwork for subsequent castration.

Moreover, Jeff was lying on the metal table, and the dazzling reflected light shining on the metal table was just captured by the top shot, which also made people feel the terrifying cold tone, indicating that something bad and horrible was about to happen.

Next is the conversation between Haley and Jeff. The cameras are constantly switching between Haley and Jeff, and they all give close-ups of the faces of the two. This is a psychological montage, which vividly displays the inner world of the characters, allowing the viewer to feel Haley's calmness and Jeff's panic.

The director's 2 to 3 seconds switch shots also accelerates the pace of the film and strengthens the viewer's psychological tension.

This part has been taken backlight. The brightness of the background forms a sharp contrast with the darkness of the characters, highlighting the gloomy and mysterious feeling, making people nervously guess what is going to happen.

This director is unique in photography, editing and lighting. He is not the one who is shooting randomly on the roadside of Park City.

When he saw this, Tony Gusman's eyes quickly surround the few viewers in the theater, trying to find the director's place. This guy who has never heard of a name has a very thoughtful director. As long as he can maintain his level, he will definitely not be an unknown person in time.

This guy is quite experienced and skilled in using camera language, and doesn't look like a novice at all.

When Jeff asked, “What are ice cubes used for?”

The camera immediately pulled the curtains open for Hayley, and the picture immediately became clear, indicating that the answer was about to be revealed. Then the camera took a close-up of Jeff's face, and the light shone on his face. He could clearly see his nervous and struggling expression, and also realized that Jeff knew that something bad would happen to him, and switched to Jeff's perspective. By pushing the camera, narrowing the scope of the scene, allowing people to see Hayley's graceful expression with Jeff and bringing a scalpel.

The answer to the mystery is about to emerge. This sense of synchronization can make people feel Jeff's mood at this moment.

When Jeff knew that Hayley was going to castrate him, he took another close-up of his face with a terrified expression, and opposite to it was Hayley sitting on the other side and talking to him.

The director's techniques are very clever, and what makes Tony Guzman even more satisfied is that all techniques are simple and easy to understand, which is very important because obscure shots are often a powerful tool to drive away the audience.

There are only three types of shots, close-up of Haley's face, panoramic shot of Haley and long-range shot of Jeff's half-body appearance.

The information conveyed through the camera can easily be read that Haley is completely active and still calm and confident. Jeff is the weak controlled side. And what is interesting is that when Haley appears, the background is a blue wall, which is consistent with the color of the surgical gown that Haley is wearing. When Jeff appears, the background is a red wall. The director clearly cleverly uses the cool blue to contrast Hailey's calmness, and the warm red to contrast Jeff's nervousness and fear.

These are simple to say, but any director must have considerable abilities to do it.

There is no doubt that the new director Murphy Stanton's ability is far beyond his psychological expectations.

The frequent short shots allowed Tony Gusman to see the director's ability to control the rhythm, and the subsequent long shots also made him nod. The new director's long shots were also excellent in narrative skills.

When Haley left briefly, the picture returned to Jeff and turned into a long shot. The camera moved back and forth between Jeff, who was struggling frantically and his cell phone placed on the coffee table, deeply expressing Jeff's desire to escape.

After Hailey came back, Jeff told a memory, and the whole memory used a long shot again. The director shook, moved the camera, and used close-up scene to express Jeff who was telling the memories, highlighting Jeff's sincerity and pitifulness, and wanted to impress Haley with true feelings and let him go.

But the camera then turned to the nearby photo frame, and girls appeared one after another, highlighting from the side that Jeff was just a clever argument, and his words could not conceal what he did.

At the same time, the weird background music sounded, and Hayley walked up to Jeff, who stopped shouting, his eyes full of despair, and castration was about to begin.

The sound in the hall became creepy, Jeff gasped quickly, Hayley exhaled softly, the knife slipped through the unique tear of the skin, something suddenly broke...

There was no direct picture of castration on the picture, but through these sounds, it was clearly told to every audience in the hall that an action to remove Jeff's source of sin was in progress.

With the previous renderings, even if you don’t look at the picture and just hear these sounds, it can make the viewer feel extremely painful and cruel.

Of course, those who think so must be men.

Female audiences like Daisy only have one word of pleasure in their hearts.

The little girl’s action of punishing Jeff is so cool! All bastard men deserve such punishment!

A stream of blood spurted out and sputtered onto Hailey's surgical gown. The little girl showed calmness asymmetrical to her age, but put away the scalpel and said, "OK!"
Chapter completed!