The film illustrates this truth in an extremely exaggerated form: love can make people defenseless, even slaughtered. The beginning of the film tries to lay out the material wealth of the old man, and the only thing that makes him happy is sitting among the portraits of women on several walls. As a matter of course, later he could not extricate himself into true love. This isolated little girl is a perfect key and a deadly knife. It wasn't that he seemed to heal her, but the opposite. This shrewd and sophisticated old man who grew up in an orphanage lost all his precautions and vigilance and suffered a complete defeat. The painting has been stolen, but it is outside the body, and the heart has been stolen, where can I find it? The old man who has lost his heart is spinning, and there is no branch to rely on. The feelings of the little girl are fake, but for the old man, the feeling of lovelorn is real. This is the paradox in the relationship. The sincerity does not necessarily exchange for the truth, and the falsehood can occasionally be turned into the truth. In art appraisal, true is true, false is false, and emotion cannot be clearly defined.
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