1. The theme of the film is actually discussing the hostility of the confused public to the awakened one and so on. This belongs to "Lu's spear and dagger", which is simply "Who killed him" and "How did he die". The author believes that communication is easy, but it doesn't have to be achieved. The above theme is only superficial, and the real core of the film is about Buddhism. This point of view is vividly reflected from the important prop of the film-the firm key of the cow.

2. "Killing" is a wonderful suspense film, which revolves around the death of the cow and how the cow died. First he was tied up and beaten, then he was thrown from the hillside and hit by a doctor's car. A series of violent acts failed to make the street cattle strong enough to break their bones, dust off their buttocks, and continue to stroll back to Changshou Town, just like an immortal cockroach. Soon after, the cow became a corpse, with no scars on the outside and healthy inside, and the cause of death became a mystery.

3. The film first throws out the ending of the story-the cow is difficult to explain, and then spreads the story around the death of the cow caused by peeling onions by foreign doctors. Guan Hu plays flashback, but it's not a good idea to use Yam Tat-wah's doctor as the flashback point of view. Playing flashback is similar to the style of murder suspense, plus the criminal police in Yam Tat-wah's bones, even a doctor, the story will inevitably go out of shape.

In fact, the story has become a bridge of "murder in a small town, doctors become detectives". Fortunately, the story is fresh enough, and there is not much suspense to cover up Niu Jianzhi's death. As long as the story is recited backwards, the audience will understand everything. Small-town gangsters like Niu Zuli have become undead cockroaches physically and can only be killed mentally. But what really killed the cow was not the lie made up by the whole town, but the birth of a new life. Most of the time in the film revolves around the word "kill", and "life" grows subtly in the invisible, and finally becomes an element with a violent voice with "kill". The contradiction between "killing" and "living" has become a profound theme given to the film by the director.

5. Niu Zuli's death, accompanied by his evil deeds in the whole town, became the place where the film concentrated on shaking jokes. Bo Huang's street villain image is very successful, and the pranks that the whole town hates include his grandfather's death, the aphrodisiac incident, saving the horse widow, digging the ancestral grave, taking treasures as gifts and so on. It seems immoral and morally corrupt, but in the eyes of modern people, these things are.

6. The director finally redefined these pranks from the doctor's point of view, which seems to be superfluous. Moreover, what Niu Jianli did is essentially nonsense and a mistake, so it is a bit too much to completely reverse the case. Just turn over the verdict when you are ready. The film then focuses on human nature, and Niu Jian's real farewell from door to door becomes an example that Niu Jian is essentially a good man. The mayor organized a scam at the cost of his own life, but what he got was absurd. Niu Zuli awakens the kindness hidden in the black coat by self-exile. The death of Niu has become an act of "I voluntarily go to hell to awaken the hope of others' lives". Niu Zujian's tomb is filled with melons and fruits that the town residents pay homage to, which is also a signal of reconciliation between Niu Ba and others.

: 1. Killing Life is an absurd suspense comedy directed by Guan Hu and co-starring Bo Huang, Yam Tat-wah, Alec Su and Yu Nan, which is adapted from Chen Tiejun's novella Killing Life. The plot of the film is dominated by absurd suspense and black comedy elements, while the emotional line between Bo Huang and Nan Yu contains deep affection in extreme madness.

2. The film tells how a group of people joined hands to kill an "unruly" person, reflecting all kinds of rabble-like national collective psychology, hidden human hearts and complex human faces, which is very intriguing. The film was released nationwide on April 28th, 20 12. Bo Huang won the Best Actor Award in the 20th College Student Film Festival and the Actor of the Year Award in the 4th China Film Directors Association for this film.