More photo albums were searched out by Hayley from Jeff s bedroom, and some of the girls on them were bound, some were misty eyed, and some were paralyzed on the floor, and even though they were just photos, they could make it clear that these girls did not have the ability to resist at all when they were photographed, and could only let people do whatever they wanted to do.
"Scum!" Daisy spat in a low voice.
Everything showed that Jeff wasn't just a pedophile. Pedophile, or the very dangerous kind.
Hayley poured another glass of water, hard into Jeff's mouth, and the screen went black again.
When the screen lit up, Jeff was lying on his back on top of his workbench, with no clothes underneath, just a large bag of ice covering the key.
The little girl was going to castrate the pedophile!
Daisy felt a great sense of pleasure, while the corners of her male companion's mouth jumped.
At the end, at some point, Tony Guzman moved two rows forward, thinking the movie was getting interesting.
Unlike the others, Jones Butler laughed, as a working woman who had suffered some injustices because of her gender, an inexplicable rush of pleasure came over her at the sight of Haley's upcoming emasculation spree.
Baker Lassiter was relatively calm because of his own relationship, and just watched the scene from a professional point of view.
The director called Murphy Stanton, used an overhead shot here, a close-up of Jeff with his hands tied, moving the camera from top to bottom, scanning Jeff's body up to the point where his lower body was covered by the ice, clearly explaining Jeff's state, and laying the groundwork for the castration that would follow.
Moreover, Jeff is lying on a metal tabletop, and the harsh reflected light from the light hitting the metal tabletop is just captured by the overhead shot, which also gives a sense of the horrifying cold tones, foreshadowing something bad and scary is about to happen.
Next is the conversation between Haley and Jeff, the camera keeps switching between Haley and Jeff, and both are given close-ups of their faces, which is a kind of psychological montage, showing the inner world of the characters vividly and letting the viewer feel Haley's calmness and Jeff's panic.
The director's 2 to 3 seconds of switching shots also makes the movie faster paced and reinforces the viewer's psychological tension.
This part of the movie is always backlit, the brightness of the background and the darkness of the characters form a sharp contrast, which emphasizes the eerie and mysterious feeling, and it is easy for people to nervously guess what is going to happen.
This director has a knack for cinematography, editing, and use of light, and is not at all one of those Park City curb-siders who just shoot the hell out of things.
When he saw this, Tony Guzman's eyes quickly shuttled between the small audience in the theater, trying to find out where the director was, this guy who had never heard of his name before, was a very thoughtful director, and as long as he could keep up his standards, he would certainly not be unknown in time.
This guy was quite sophisticated and pure in his use of camera language, and didn't seem like a novice at all.
When Jeff asks, "What's the ice used for?"
The camera immediately gives to Haley pulling the curtains back and the scene immediately becomes clear, foreshadowing that the mystery is about to be revealed, and then the camera pans down for a close-up of Jeff's face, where the light shines so clearly that you can see the twisted expression of his tense struggling face, and also appreciate that Jeff knows that something bad is going to happen to him and switches to Jeff's point of view, narrowing down the scope of the scene by pushing the camera to show, together with Jeff, the Haley's triumphant expression and the bringing of a scalpel.
The mystery comes out here, and this sense of synchronization allows one to feel what Jeff is feeling at this moment.
When Jeff realizes that Haley is going to castrate him, another overhead close-up of his face in horror is shown, as opposed to Haley sitting on the other side of the room talking to him.
The techniques used by the director are all quite clever, and even more satisfying to Tony Guzman is that all of them are simple and easy to understand, which is quite important as obscure shots are often a great tool to drive the audience away.
There are only three kinds of shots in this segment, a close-up of Haley's face, a panoramic shot of Haley, and a telephoto shot of Jeff appearing halfway across the room.
Through the lens to convey the information, it is easy to read Haley completely take the initiative, still calm and confident, while Jeff is controlled by the weak side, and it is interesting that the camera appears Haley when the background is a blue wall, and Haley is wearing surgical scrubs of the same color, the appearance of Jeff's shot when the background is a red wall, the director is obviously clever use of the cold tone of the blue color to reflect Haley's composure and calmness, and the warm tone of the red color to reflect the calm and cool, with the The director clearly and skillfully used the cool blue color to reflect Hayley's calmness and coolness, and the warm red color to reflect Jeff's nervousness and panic.
It's easy to say, but any director who wants to do this must be able to do it.
There is no doubt that the ability of Murphy Stanton, a newcomer director, far exceeds his mental expectations.
The short shots that frequently jumped around showed Tony Guzman the director's ability to control the pace, and the subsequent long shots made him constantly nod his head that this newcomer director's ability to narrate in long shots was equally outstanding.
When Haley briefly leaves, the scene returns to Jeff and turns into a long shot, with the camera moving back and forth between the frantically struggling Jeff and the cell phone placed on the coffee table, profoundly expressing Jeff's desire to escape.
And after Haley returns, Jeff recounts a memory, the whole recollection once again utilizes a long shot, the director by panning, moving the camera and using close up to show Jeff who is recounting his memories, highlighting Jeff's sincerity and pitifulness, wanting to impress Haley with his true feelings so that Haley will let him go.
However, the camera then pans to the top of a nearby picture frame, where the figures of one girl after another appear, side-stepping the fact that Jeff is just sophomoric and his words cannot cover up what he has done.
Meanwhile, eerie music plays in the background as Haley walks up to Jeff, who stops yelling, his eyes full of despair, as the castration is about to begin.
The sounds in the hall become creepy, Jeff gasps sharply, Haley exhales softly, the knife slides across the skin with the characteristic tearing, something suddenly breaks ...
The screen never showed any direct images of the castration, but through the sounds, it told every viewer in the hall, loud and clear, that an operation to remove the source of Jeff's guilt was in progress.
Together with the previous rendering, even without seeing the picture, just hearing these sounds could make the viewer feel pain and cruelty to the extreme.
Of course, it must have been all men who thought so.
Female viewers like Daisy only had one word of pleasure in their mind.
The little girl's action of punishing Jeff was simply too cool and awesome! All asshole men should be punished like this!
A stream of blood soared out and splattered on top of Haley's scrubs, and the little girl showed a calmness that was disproportionate to her age, simply putting away her scalpel and saying, "OK!"
The soundtrack immediately changes to calm piano music, giving the viewer a sense of relief, as if the castration has finally come to an end.