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中國現(xiàn)代電影前驅(qū)，中國古典詩畫藝術(shù)：詩的比興，蘇軾蝶戀花，畫的虛實，散淡簡約；非情節(jié)化詩情敘事，人物心理流變而非事件貫穿衍生情節(jié)，內(nèi)在戲劇性，環(huán)境寫意化，旁白敘事視角，中國第一部全片系統(tǒng)運用景深鏡頭、長鏡頭段落、運動攝影及音響蒙太奇的影片。費穆空氣學(xué)說

看的很慢，斷斷續(xù)續(xù)的，沒看進去，可也被堤真一設(shè)計讓那個女的說的都是實話的無微不至，和悲痛的喊どうして，給感動的一塌糊涂。

終于補習(xí)了此片，在DVD時代曾見過這張碟，只可惜一直沒買，現(xiàn)在時隔這么多年后下載來看終于了了心愿 。看此片也是奔著貝阿而去。片子情節(jié)沒啥好講，故事講得也不悶，關(guān)鍵貝阿太適合此種角色了。

Ah, so Midsommar was inspired by this! Powerful, distinctive portrayal of an otherworldly village where paganism beliefs have seeped in everywhere and every person functions as part of an organic whole. The affability and peacefulness visible to the eyes are all the more horrifying when underlain by sinister intentions. As we learn everything through the sergeant's eyes, the identification has been built up throughout the entire film and therefore the final wicker man scene comes even harder and stronger, leaving us shiver in total hopelessness. (When the sergeant shouts desperately 'can't you see there is no sun god!', does he have a fleeting doubt about his Lord Jesus Christ too?)

單純從故事角度還是有可圈可點的地方的 沒那么差