The point of the film is that for every person who has been traumatized, there is another psychological space in a different dimension besides the real space in which they exist, in which old people and past events that cannot be released live, and are entangled with reality. Far-fetched: The four characters all happen to have wounds that are hard to heal. Robert can't face his friend's death in World War I and he is safe and sound. Maud can't bear the death of his child. Florence has more heart knots, including the family tragedies that he witnessed as a child. , There is also the pain of bereavement in adulthood, Judd has been unable to face his inner timidity because of evading enlistment. In this way, the four people in the same reality live in their own mental space worlds, and occasionally cross, which inexhaustibly aggravates the confusion of clues. Until the end, it seems that in addition to the dead (M and J), the issue of the two heroes and heroines is still unresolved. , Especially the story of the male protagonist, who just opened the thread and ended in a hurry (who is he telling: "She's downstairs"?).
In general, the film still follows the path of genre films such as "Sixth Sense", "Island Cry", and "Spiritual Orphanage", but the drama of the horror film is greatly undermined by too many plots and branches. After missing a hearty pleasure. The title of the film may remind people of Kate Chopin's novel of the same name. This novel is used to speculate again: Does the film ironically express that the heroine seems to have awakened from psychological illusion and returned to real life, but she has never awakened? In other words, she has awakened from reality (accepting the unbearable past), but has entered another illusory existence (she failed to realize her own death)?
After changing tricks like juggling, where is the way out for this kind of horror genre that crosses the world and the underworld?
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