Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder.
“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much.
The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.
真得在观影过程中产生了生理性的压抑性不适。
但是好美，好喜欢她侧对着他不敢放声哭的那一段
Jo表演太精彩了！虽然故事简单，深度一般，但是本身就是写实电影，很勇敢！
1.以人为切入点，讲述疫情。而不是一种歌功颂德的姿态，搞一些伪人文关怀。
最后怎么就把人家拐跑了呢（i get it, but…）
2.好人和坏人，都是出于自己的心理诉求和物质诉求。女主作为一个好的护工，是某种层面上的失败者，在这样的环境下能够收获被需求感。
外在威胁总是能让我们看清更多东西。
以小见大，提到中国捐赠的医疗物品，好评。结尾有点失落。
Jodie 可太能演了/角度选得不错 但不是很理解负责人的人设崩塌
人美心善的女主和早发痴呆的宅男之间也挺温柔的。还是没看完。紧跟时事。
covid change the world，so sad.face to the death,the world became more cold.this movie beat the heart directly.so deeply.
没有什么歌颂题材的电影能成为好电影，但是控诉的题材，一般都不错。
后半部分有点too much 但是我夫演得好
nobody is coming.医疗体系崩溃真是太绝望了
这才是真正的小正大 几乎都能被称作是后covid时代电影的开山之作了 从个体出发 对权势和政府体制进行强而有力的控诉 不一味歌颂 让人回归人的本质 该犯错时犯错 该牺牲时牺牲 最近在看野田高悟的剧本结构论 里面有一句话说得特别对 电影不是用来宣传的 电影是生活的镜子 依然还是得回归到平民的生活上 没有人的生活是美满的 真实地展现生活中的苦痛和不如意 也呈现所谓的“不幸”结局 才能与世界电影齐肩 judie comer太绝了 她的呼吸完全carry住了整部片子 长镜头下的演绎一气呵成 绝
“It's not my department” 每个人都在说这句话。
“前段时间我开始思考我要成为什么样的人了，可是……我有时候连自己在哪里都不知道。”
Sarah和Tony之间的情感建立通顺，两人的结局也蛮牵动人心。Sarah独自在养老院的一晚可以说是全片的高潮，孤立无援的绝望感表现过关。 //有点希望这部电影被更多国人知道。
目前为止，这片是有关新冠背景的最好的片子了。印象深刻的女主无助的长镜头。《中国医生》是个啥?
护理院着手，以小见大，最后带病人逃跑12天被警察找到很绝望。
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