1. TV footageInstant replay of the match, indexing towards a fact out there in the world, the film way of doing collage, a little piece of the objective world stuck in: we jump into the world inside the characters' brain but at the same time all the subjectivity is effaced. Like speech becoming speech act, the dialogue, or the shift between visual footages emphasizes how time is sculptured by the visua rhythm.2. The red colorFive seconds of color! in a black and white film. The climax of the long sequence of a cacophony of images. The thought of killing is even more horrifying than the act of killing, but at the end of the film, the thought of killing is immediately softened and remained as a thought, and the film's narrative structure becomes a complicit in the final act of killing, as it smoothly parallels the ending of the film. Are we more forgiving to the action or the thought, to the person we have accessed his inside or to the person we hardly know?3. A Talkie inside a silent filmHow could the film inside the film changed the course of the film on the outset? Why wasn't the piano music enough to draw the two people closer? Do we need darkness so as to be transformed? How does the non-verbal speed things up (as the intertitles would slow things down) or create confusions/tensions (the loss of the card with text when the flower bouquet was sent)? How does the verbalization of inner thoughts spoil things (the discomfort of speaking into a megaphone)?。