“In that era, photographs usually preserved life's most cherished moments. A single image could carry an entire family's memories,“ said director Shen Ao in an interview. Yet during the Nanjing Massacre, he added, Japanese forces weaponized photography for propaganda. “The studio in our film holds the crimes they tried to erase, which are exactly the truths that need to be exposed.“

　　The director stressed that few people truly understand how these photographic records of Japanese wartime atrocities survived, highlighting the film's mission to depict how Chinese civilians risked their lives to preserve the damning evidence.

　　The film's success, said Yin, rests on its distinctive perspective, fresh narrative, empathetic characters, layered storytelling, and technical polish -- “all channeling a collective public catharsis. Both artistic merit and social relevance were essential.“

　　Dead To Rightscurrently holds an 8.6 out of 10 rating on Douban, a key film review site.

　　“The simplicity and restraint of the storytelling make every scene piercingly poignant. The few images -- such as the knife held to a baby, the rolling heads, the red river of blood -- are more than enough to communicate the horror,“ observed a popular comment on Douban. The film avoids sensationalism, allowing these chilling images to speak for themselves, the comment added.

　　A Maoyan user recalled a touching moment after the screening, when a young girl asked her mother if there were any “post-credit scenes.“ The mother gently replied, “The real 'post-credit scene' begins when we step out of the cinema.“ The comment continued, “Indeed, the lively streets, the bustling crowds, the aroma of food in the air -- these are the true miracles.“ This sentiment captures the film's profound message: a call to cherish peace and vitality of modern China, all made possible by the sacrifices of the past.