“This is Home Invasion,” Korine says, pointing at a computer monitor inside the house. On the screen plays security--camera and GoPro footage of masked men and women, wearing horns, rampaging through various Miami McMansions, tying up various innocent-looking families. “We’re trying to gamify movies,” Korine says. So Home Invasion is designed to look, at times, like a first-per...
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“This is Home Invasion,” Korine says, pointing at a computer monitor inside the house. On the screen plays security--camera and GoPro footage of masked men and women, wearing horns, rampaging through various Miami McMansions, tying up various innocent-looking families. “We’re trying to gamify movies,” Korine says. So Home Invasion is designed to look, at times, like a first-person shooter, and inside the film the home invaders are sometimes playing games —the idea being you can scan a QR code and play along with them. “What we’re trying to do is to build some mechanism that allows people to interface with the footage and basically remix, or make their own, films,” Korine says.年轻时辉煌过、荒唐过，为目标热血喷张过。但在一个个不起眼的岁月弯道上，却渐渐偏离了预想的跑道。周遭事物以莫名而荒唐的方式变了模样。渐渐地，在不由自主的无力中选择融入，在不清不楚的遗憾中选择认可。
角色往往都在看向身边人看不到的地方而显得和旁人格格不入，而这也往往是角色人生悲剧的根源。这些不被定义的主角们，又守着一条常人难以理解的底线，也就是这条底线，让角色有了真实性，更加贴近观众。
