Is it a good thing to have too many metaphors in a movie? From religion to social reality, from marriage to the awakening of women's consciousness, it seems that there are a thousand Hamlets in a thousand audiences. So I'll use my own Hamlet to rewatch the movie.
The main line of the story is the relationship between the big cousin and his writer husband. Their marriage appears to be happy and prosperous but there are hidden dangers. The eldest cousin's wish is to manage her own small family well, so she keeps decorating her own house, hoping to have a child. The writer's husband, however, has a higher heart than the sky, and he regards the crystal in the room as a treasure. Crystal means love and friendship, but the writer's love is not in the big cousin, but universal love, religious love. Because this crystal is the only survivor after a fire, implying that even if you abandon everything and destroy everything, you must stick to the moral high ground. The appearance between the two is like religion and secularism. Although they live in the same room, and even the former needs the support of the latter, they still cannot dispel the ambition of religion to occupy everything.
The story is divided into three acts, each of which has its own focus but is a complete whole. This is the whole process of the writer's self-transformation, and it is also the process in which religious teachings are constantly being distorted. In the first act, from the appearance of his superfan, followed by the superfan's neurotic wife, two lousy sons, and finally a large group of inexplicable people, the writer goes from passive acceptance to being seduced (superfan and His wife kissed regardless of the occasion, even made love casually after destroying his crystal symbolizing faith intentionally), and then semi-actively intervened in each other's family affairs (the battle between two bad sons), until the end Take the initiative to invite that group of people to come and make trouble at home. Although this transformation is subtle, it is indeed an extremely important foreshadowing. It also implies that doctrinal distortions cannot exclude the temptation of worldly interests.
The second act is a turning point. The big cousin has a baby, which means that there is hope, and hope has inspired the writer's inspiration and has a work. The work was successful, and the writer attracted much attention and received adoration. So his original pure and kind universal love began to change, and his original moral belief began to collapse. He is no longer satisfied with being an angel and helping others, but has opened up the perspective of God, wants to act as the savior of the whole world, and wants to experience the pleasure of a ruler ruling the world. And this is the fundamental contradiction between him and his eldest cousin, or religious and secular.
The third act seems to be lively, but in fact it only hints at the inevitable trend of the conflict between religion and the secular. Most of the time, the world is forbearance, because there is hope to continue. The eldest cousin's baby symbolizes hope, but if religion wants to occupy the whole world, it must destroy the hope of secular society. So the child was killed and eaten, and the eldest cousin was furious, because the secular society had no way out. Before taking revenge, the eldest cousin said a golden sentence: You just love me and love you. In other words, writers fall in love only with the feeling of being loved. The hypocrisy of religion has been thoroughly debunked.
The result of revenge is to be reduced to ashes together. The secular society used a destruction to wash away the black heart of religion and let it return to the ranks of universal love. The heart that the writer dug out from the eldest cousin's chest was transformed into the crystal that was once broken, not only the return of religious teachings, but also the beginning of another reincarnation - a woman exactly like the eldest cousin got up... From a certain To a certain extent, religion is the victor, but the tragic sacrifice of the secular society is more worthy of sympathy.
I think the movie still has a line - the world doesn't need God, only angels, and love. The film's title "Mother" not only implies the continuation of hope, but also focuses on the source of hope - the existence of the secular world.
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