Fundamentally reshaped Iranian cinema as well as our relationship with the medium (the ontology of cinema); "the Baudrillardian sense of the hyperreal, wherein the perceived boundary between illusion and the real collapses, leaving only simulation in its wake"
「小东西逃跑是要受到惩罚的」之后强烈的审美继续帮助着David Robert Mitchell在隔世代的影迷中打下自己独特的恐怖标签「换乐无穷」依然渗透着矛盾对立和精致复古的基调活在流行映像中的当代好莱坞在线乱码一二三区别建立在神秘银湖上的明媚洛城用一把Fender Mustang吉他把信仰砸个稀巴烂的一幕堪称经典影片核心是一个用都市传说、黑色犯罪故事外壳包装下极具现代特征荒谬又感伤的真相而文化符号的杂糅和出彩的意象则持续为观影提供了乐趣——“现在我们有了电脑谁还需要女巫和狼人”