Duwo and I watched the movie on the single bed in her apartment and agreed that it was essentially an elaborated fishing tutorial.
Lars von Trier's tribute to art (and math lol) still fascinates me. Courbet's shocking 19th century oil paintings L'origine du monde, Bach, The Last Supper, the Parthenon, tritone and satanic interval, the romantic Fibonacci sequence... These are shrouded in fog above the heroine, forming a A huge metaphor that doesn't make much sense.
It's a real surprise to mention my beloved Bach church organ, and even more so to use it to advance the exploration of sexuality, because in Bach's day, music was a service and a tribute to God instead of a personal artistic expression, which is supposed to be idyllic and sacred, which is probably why, every time I listen to it, I feel like I have a church on my head. But the film uses it to explore the obscene and "satanic" (probably the master of polyphony's coffin board can't hold it! The structure and tonality are both flushed into the sewer in an iconoclastic fashion) and such contrast gives The tension of this movie is very interesting.
I've been having too much fun recently, so I can't watch anything too engaging, entertaining or humorous, so I have to look for something like long, sad, hopeless, painful, or "unlovable" emotions in art forms. In order to maintain my spiritual balance, I chose this film that is absolutely my own way and does not deliberately cater to the audience, and I did not have the expectation of "good-looking" in the traditional narrative. However, the lines and narrative progression, punctuated like the Fibonacci sequence but with a coherent internal logic, are fascinating and well suited for some long, inexplicable evenings.
Desire is a fascinating thing.
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