In June, when The Hurt Locker first hit theaters, Jessica Winter looked back on the career of its director, Kathryn Bigelow.

Despite all the snarky comments I’ve been getting, both about the film itself and about the director’s two acceptance speeches, I remain unrepentetly thrilled that Kathryn Bigelow won the Best Director and Best Film Oscars for The Hurt Locker.

Kathryn Bigelow, who made her name with Point Break, is back after a long fallow period and her latest movie is set to bring her fresh acclaim

consider Kathryn Bigelow’s new film, “Detroit,” to be a moral failure. It’s clear that Bigelow intended to present a set of historical facts that would offend viewers’ sensibilities, spark righteous outrage at the brutality and the injustice inflicted upon the movie’s main characters, and induce viewers to reflect on the persistence of racist injustice in the United States today.

KATHRYN BIGELOW’S two-fisted win at the Academy Awards for best director and best film for “The Hurt Locker” didn’t just punch through the American movie industry’s seemingly shatterproof glass ceiling; it has also helped dismantle stereotypes about what types of films women can and should direct.

How to make the movie that feels real? How to make a war movie to make the audience have a feeling of total immersion? What is the style that delivers the most realistic picture of the events? Let’s have a look at The Hurt Locker which, in my opinion, answers all the above questions perfectly. Kathryn Bigelow, the director of the movie, together with the DP, Barry Ackroyd, used various techniques to take the audience to the war field. The director said in the behind the scenes material: