In the first half of the movie, the combination of super-eight images and the vivid hand-held not only drives the downfall of Berlin, but also surprises the romantic scenes with randomness. Randomness evokes momentum in the shaky, looming shots of the moment before destruction, as well as foreshadowing the deaths of two men—a drowning warning in the newspaper, and Labod, who is targeted by Cornelia in the target scene. , as if the gun would go off the rails in the next second.
When "Farewell, Berlin" turns to job email list the second half, the lens gradually stabilizes and the frame is pulled away. The original floating image style seems to have exhausted half of the energy, revealing the desolateness of Berlin's actual appearance, and it is also more straightforward The ground floor describes Fabian's unstoppable encounter, and his eyes shift from the individual to its opposition to the city, but the subsequent plot also squeezes each other, quickly taking Fabian to the end step by step, waiting for It can only be reduced to a joke on the scale of the times.
Fabian's greatest grief is that the moral criterion on which he relies on trustworthiness has completely become a shackle that hinders him. Enlightenment rationality and human kindness have been translated into obsession, which has become people's self-limitation / trap. They successively became a joke/misunderstanding and were taken lightly and disappeared, becoming an allegory for the director to show how the Weimar Republic with perverted values could bring about its own demise.