In two or three scenes of the first chapter Copenhagen cowboyIt seems like the world has stopped. At best, getting darker, darker and more painful as we get closer to the more unpleasant moments of his story. Then the whole action slows down, freezes. The camera focuses on the landscape, the spilled blood, the car falling into the darkness. For director Nicolas Winding Refn, violence can be beautiful.
It shows the way Copenhagen cowboy analyzes Miu (Angela Bundalovich). A character with huge expressive eyes and a beautiful face wants revenge. He wants to do it with his own hands. To be cruel, unforgettable and cruel. But also in fairness.
The sense of truth in Refn’s work is distorted as the director’s camera slows down the sense of reality. Colors darken, shadows lengthen. There is a record of dark beauty that spreads like an infection as this seemingly familiar and hackneyed story unfolds.
But in fact the director Copenhagen cowboy You know what you want to show. Miu is a character who stands by his silence. Internal tension, so unbearable and heavy that it causes an immediate sensation of an explosion. Something is going on in the mind of this woman who has decided to face the underworld of a ruthless city. It moves from one place to another with effective ferocity.
Copenhagen cowboythe vigilante who disappears into the shadows
Refn uses color and shadow as a language. In this case, thin threads of light or the cold of a hostile city endow her character with an environment that reflects her. Copenhagen cowboy expresses his deep ideas about the balance of good and evil both visually and in plot.
Also in the show’s ability to create dark scenes with just a few camera moves. The staging that follows the allegorical fall into hell is sumptuous and swirling without forgetting the brilliant rhythm. A combination that allows history Copenhagen cowboy move smoothly, even in the roughest places.
Miu focuses on her quiet strength and ability to kill with almost supernatural accuracy. In fact, it is clear that the director, and the screenwriter, has all the intentions create an anti-hero who thrives on the darkness around him.
The mystery that accompanies Miu as she traverses the darkest and most violent corners of Copenhagen turns into power. At the same time, in a collection of small portraits about cruelty and the search for meaning in revenge, which surprises with its skill.
From the constant allusion to pigs as images of pain – a kind of frightening parallelism with a human being – to long unearthly silences. all in Copenhagen cowboy He travels through an area that is full of surrealism. A violent, painful and dangerous connection with a connotation of what people can do when they are terrified.
A character with no history and no past, but with a will to kill
Without a story to tell about herself, wandering the gloom of bars, brothels and gunfights, Miu is a ghost. It can be seen that Renf is playing with what the staging Copenhagen cowboy be a long way about the mind in various stages of apparent degradation.
But his character does not get worse, but rather learns through the brutality of killing or the ability to inflict pain. Copenhagen cowboy it could have been an empty spectacle, if not for the director’s ability to combine the dirty with the beautiful. Carefully and in a stable balance to build sanity through the great secret revelations.
Of course, this is a series focused on violence, as well as the ability of the darkness of spaces to become a threat. Refn uses every resource at his disposal to develop an understanding of the strange, the bloody, and what lurks, whether in the shadows or in danger. The combination that turns the last chapters Copenhagen cowboy in a spectacle both beautiful and grotesque.
Final redemption in Copenhagen cowboy
The long path of history is built like a labyrinth leading to redemption. It’s not just about Miu’s revenge (whose motives are carefully hidden), but also about what is hidden in her life. main character Copenhagen cowboywho bears on his shoulders a great burden of tragedies, raises his condition from the need for justification to cruelty.
But he doesn’t do it without putting aside the conviction, he needs to redeem the pain in order to survive. The only way she can fight the enemies waiting to kill her is by getting stronger. Also deals with the severity of the injuries he carries on his back.
With a deceptively simple script, the final chapter Copenhagen cowboy is an amazing combination of stunning aesthetics and horror. In his final moments, Refn made it clear that darkness is often a combination of suffering and the search for meaning. A unique message for a series where the most amazing scenes are covered in blood and the pig figure is about to be destroyed.
Source: Hiper Textual
