My brain is currently limited in understanding, haha.
The story was shown from a strip of film, and we watched a movie with the little boy as the audience, so the lines and the stream of consciousness can be forgiven, because the theme of the expression should be consistent with the way of expression.
A quick silhouette at the beginning, a human face appears in a ray of light, and the faces of Elizabeth and Elma alternate between fading out and fading in. This means that in the following story, the fate of the two is tied together: two women who escape from their hearts.
The picture is clean, concise and not cumbersome. There is only a bed and a TV in one room, only a desk in the office, and the rest are all white. Very comfortable being forced to focus on the actor.
There are three laughs of Elizabeth in the film, one at the end of a performance, one in the hospital, when Elma gave her a broadcast, and one when the two were arguing and Elma said a long paragraph. back. All accompanied by words, perhaps Elizabeth's mockery of false words.
After the foreshadowing is revealed, the widening of the gap brings endless irony: at the beginning of the film, Elma mutters to herself in her room and tells herself to live a regular life (she should show this very clearly, The female doctor at the hospital also mentioned in her conversation with Elizabeth that she was so conservative), she didn't need to figure it all out (to escape from the heart, paralyze herself), and with the narration in Elma's country house, we realized that it was her Ego paralysis after an absurd sexual experience (the negation of the negation, the story takes us to discover the reason after the negation of the negation), because she does not know why her feelings and actions are inconsistent, and the moral scrutiny makes her miserable, He simply escaped and told himself that he only needed to live by the rules; from the letter from Elma read to Elizabeth, we seem to feel Mr. Vogler's aptness and deep love, comparing him and Elizabeth to children , we were deeply moved by these beautiful love words, and even blamed Elizabeth for crumpling the letter and throwing it away, but when Mr. Vogler came to the hut behind. He couldn't tell who his wife was at all. Because of Elma's few words pretending to be Elizabeth's words, he made her as his wife and made her out. He said the same beautiful love words, in which they Still a child, ironic (does not believe in eyes, only recognizes lies), this is Elizabeth's smile is the greatest irony, she may have lost her previous letter because she has long seen this blind feeling; In Duan's words, we seem to speculate that Elizabeth is because she doesn't want to wear a fake mask and hates the role-playing in the life in the play. We also seem to suspect that her doing this has something to do with her identity as a mother, and even she will eventually abandon her current one. This character is dying. When we tear up the picture of the child, we seem to express sympathy for her illness. As the story progresses, Elma tells us that Elizabeth is because of her special status as an actress. She lives under public opinion and follows the voice of the public. Life, after being a mother in a daze, only to find out how much she hates children, and even hopes that children die. Facing the kindness of children and the desire for mother's love, Elizabeth feels fear and despair for her disgust for children, and self-disappointment (negative). Negative), the role of mother is just a fuse, what really "destroyed" her was the conflict between reality and herself.
The picture of the monk playing on the TV is a true portrayal of Elizabeth. They all have their own beliefs. When they can't bear the oppression and hypocrisy of the external environment, they choose to start with themselves. When forced by reality, the way is more extreme. One shut up. Never speak again, a direct end of life.
When Elma said to Elizabeth, "We are very similar, in some ways I can be like you with a little effort, I'm talking about the heart, you can also be me", the hearts of the two began to blend step by step. The words to tell Elma not to sleep on the table and the behavior of coming to Elma's room in the middle of the night were denied by Elizabeth. Maybe it was Elma's personal fantasy, but the truth was that they were more and more connected.
Elizabeth is the reality or the object of envy that we think is peaceful and beautiful, but when Elizabeth falls asleep, when we grasp the motionless reality, we find that the other party is full of blemishes and wrinkles.
Near the end, the two negotiate at a table, Elma cuts her wrist and bleeds (bloody, ugly), Elizabeth sucks with her mouth (make up, cover up, escape), Elma's blood goes into Elizabeth's body, the two Blending together again, Elma slapped Elizabeth just like Elizabeth slapped Elma when the two quarreled in the countryside, but more fiercely, more like she was beating herself.
One hour and twenty minutes Elizabeth followed Alma and said the exact same words, followed by a picture of the two snuggling at night in a country town. Does it mean that at that time, the two actually gradually merged with each other, regardless of each other. I still remember that the next morning, Elma asked Elizabeth if she had been to her room, Elizabeth shook her head, maybe Elizabeth really hadn't been there, but she was just part of Elizabeth and gradually integrated into Elma. One hour and twenty-one minutes, Elma stood in front of the mirror and stroked her hair after packing her luggage. The picture overlapped with the picture of Elizabeth brushing her hair that night. Her hand seemed to belong to Elizabeth, which was Elma's imagination. , does it mean that what was in her room that day was also her imagination?
Elizabeth said three or four things in total: one, she told Elma to go to bed, of course Elizabeth denied that she said it, maybe she deliberately denied that maybe it was the beginning of Elma's fusion with her; Elma picked up the hot water and was about to pour it on Elizabeth, and Elizabeth yelled "No". She would react the most strongly when the outside world gave a direct attack, but the hypocrisy in life is slow. Poison and her own cowardice, Elizabeth chose a gentle way of resistance, so she was so frightened and afraid of the monk's self-immolation; here is what I think, Elizabeth and Elma "negotiated in the room" ", Elma whispered behind Elizabeth, Elizabeth moved her mouth but did not make a sound, giving the illusion that she was speaking, the two seemed to be one, and the words were unspoken fragments of words; the last sentence was in . In front of the hospital bed, Elma said something Elizabeth followed by "Nothing".
Elma knew everything about Elizabeth, and Elma said to herself in horror, to Elizabeth, to us: she was still herself. The hair band on Elma's head is Elizabeth's signature ornament, and in this scene, Elma seems to really become Elizabeth. (Attention is always elsewhere, and while digging into other people's lives, I also lose myself)
Much of the film's speech is obscure, the book, the dialogue, and even a series of broken, fragmented, nonsense words spoken by Elma and Elizabeth during their heated conversation at the end. This is perhaps the director's irony of too many meaningless and hypocritical words in our lives, and what is even more ironic is that we are manipulated and act blindly by them. Just like the images that appear in some quick edits in the film, all of them prick the nerves and attract our attention, but they have no content connection with the feature film at all. This may be the reflection of disparate words in life.
Many dialogues in the film are in the second person. The silent Elizabeth seems to be watching us. The target object of the words has become us. We listen to Elma's words, conflict with Elma, and then become an experiment. Anatomy of Elma. However, we are also Elma, her lines are our voice, her behavior and self-deception are also our daily life, analyzing others righteously, and she is just a piece of fish on the knife.
Audiences have empathy for Elma because of her actions, we empathize: Elma says she wants to change but she's too lazy (she might not want to change but to hide), says her boyfriend complains about not being aggressive , but she is the best in the class (everyone thinks they are at least kind or good)
Elma's desire is to have a belief that she can dedicate her whole life, exemplified by the nurses in the Home of Elderly Nurses, who have been nurses for life, always caring for others. Ai: Find a belief and stick to it all your life so that you are important to others. It is very selfless and touching, but if you think about it from another angle, these people think about others all their lives, and they cannot see themselves or escape from themselves.
Elma is the epitome of the general public. She does a job down-to-earth and has a partner. She usually listens to other people's complaints but no one listens to her troubles. In the face of slightly better people, she looks inferior, almost very uncomfortable. Don’t explore your heart less. When something goes out of the way of life and you find that you are not very good on the other side, you first start to blame and condemn yourself, and then keep deceiving yourself: I am still me, and I still have to return to a normal life. When our ugly side was exposed (Elma's behavior was written into a letter by Elizabeth), we were so angry that we felt ashamed, and we started to take revenge, and we would speak harshly, discover our ugly side, and accidentally hurt us. When others will blame themselves, they will find an opportunity to apologize. If the other party does not accept it, they will fall into anger again, and take other people's forgiveness as a matter of course. Our attention is always on others, and one day we will throw ourselves away, regardless of him or me.
At the end of the story, the two returned to their normal lives. Does it imply that we will finally bow to reality and return to the track it arranged? Or does it mean that the two representing us have found a place in life?
Waiting for the second viewing, I hope at that time, I, we can all know who we are.
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