But the focus is not on the action, rather, it’s the psychological pressure she displays through her words and actions.
Indeed, when filming such scenes, the pressure - apart from the actors’ performances and the oppressive, dark environnt - the efforts of the cara and lighting crew are indispensable. Yet, Xia Siyu’s acting truly makes you feel this comprehensive sense of control.
The killer she portrays is different from others; her cris are arranged beautifully, with a sense of ritual. Even when chased to her door, she would still decorate the environnt with artistry.
Even when she’s prepared to die, she designs her plan in advance to not only avoid appearing pathetic but also to lure the protagonist male and female into her trap, dragging them down even in death. Moreover, as a high IQ criminal, she has long identified their personality weaknesses for exploitation. What seems like her exposure, being approached by the female protagonist, is rather her plan to trap her prey, catching them all at once.
Incredibly arrogant yet calm and crazy, as the line in the play describes, it’s "the aesthetics of cri."
This powerful ntal strength was indeed transmitted to Shang Feifei. During filming, Shang Feifei initially followed the script and the planned choreography, but gradually she felt she had beco the protagonist. In the maze-like old building, not knowing where the killer might erge, nor knowing where the male lead is trapped to save him. It’s not just the environnt that’s oppressive; the fear of the unknown is paramount.
This unknown, initially acted out, gradually felt as if she really stepped into Xia Siyu’s woven world. The ntal control and oppression are more terrifying than physical or environntal suppression.
It’s not only Shang Feifei; Bo Yan also felt it during filming.
At the start of the scene, he was drugged by Xia Siyu, awakened already bound, having guessed the identity of the criminal. Yet, still facing nurous challenges to escape. As the female lead approaches them, he too prepares to escape.
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