I haven’t watched a movie more seriously in a long time. I used to be in a hurry. I just used the movie as a pastime, and I stopped after understanding the plot and appreciating the beauty. Movie", it's not a waste.
This time, I just calmed down, maybe because the film itself was well done, I jumped into it. Many shots are beautiful to me as a layman, paper and clothing corners flying when the wind blows, and staggering pedestrians, aisles that can walk through books, light rails by the sea, distant views of houses, buttons of old-fashioned telephones, grass The party, the china plate in the sink, the commuters coming out of the subway, the sincere prayer before the meal, etc., all fascinated me.
The first half is lust, the second half is love, and the whole movie ends up with family — the family that binds the two together.
Sometimes, an encounter is a coincidence, and the two people who collided in the wind became attached-pulling an unethical relationship. A tragedy could have been avoided if Connie had stopped a cab, as envisioned in the movie, or if she had not followed Paul upstairs because of a crush. Unfortunately, when we say the word "if", everything has sometimes reached the point of no return, and there is no starting over, only continuing.
Is it fresh? Desire that hasn't been ignited for a long time? What can be blamed? Blame Connie and Paul for being so charming? - Paul's winning, every step of the way, Connie's distraught, lost her mind - I can't tell. I'm partial to beauty and madness, and these two words fit perfectly into a third word - lust. Between them, there is tentative, indulgent physical contact, physical lingering, and strong sexual tension. I especially liked how Paul put ice packs on Connie's knees and grabbed her hands while she was on the phone; when Connie saw a Braille book, Paul's hand covered Connie Anne's hand, he closed her eyes and led her through some comical-sounding sentences from a cookbook; Paul deliberately touched the back of Connie's neck as she took off her coat; He took the dessert bag, then released it, and put his hands on the back of Paul's neck - the poor bag, forced to move on the ground with their footsteps, seemed to be stepped on the edge by Paul. I think these close-ups fascinate me more than the naked sex scenes.
Recently, I have also longed to hug people tightly. When I saw the couple hugging in the office, I unconsciously took screenshots, and I also noticed the creases in their clothes that were scratched by their hands. I repeatedly thought about the strength. Sometimes I am especially happy with some scenes, maybe because we have experienced them, and some empathy, maybe because we have not yet obtained, experienced and longed for, and can't help but simulate these fragments in our minds. I love movies so much that the possibility and the impossibility are brought to the screen, and the audience is still swimming in the picture and imagination - as if they can do whatever they want. Movies are like theater, but they're more beautiful, richer, and more immersive.
Connie sank in the push, half-drunk, letting herself fall into the abyss of desire. On the tram, Connie slipped her hand around her collarbone and couldn't help laughing - the caressing of the skin, the blowing (here it seemed that the heart was itching with the skin), the stirring of the nerves, the awakening in a secret place; Crying, knowing it is impossible, but doing it, morality is condemning, self-crusade. The psychological portrayal of this film is very vivid. Connie's expression and action language are subtle and rich. When she is on the phone, she looks around, raises her head and lowers her head, purses her mouth, coughs dryly, and is nervous, but she is full of expectations and joy (I seem to see me myself) - oh dear, you still found my phone number hidden in the book and dialed it as I wished - and by further coincidence, just about to put down the receiver, "Hello?" What a dramatic moment.
Paul is enthusiastic, flamboyant, bold, romantic and free. The greeting when he opens the door is a bit too humorous, his behavior is casual, and he goes through the storm with Connie in the cafe's bathroom and the movie theater. He has no sense of morality, walks as he wishes, and is unguarded - I still don't quite understand how he allowed Edward to enter the house, maybe knowing that the matter has been exposed, but he is more calm and calm, too lazy to excuse himself, so that he doesn't seem to care , and even very proud, this kind of performance in Edward's view is also fueling the fire-too free and easy, and it looks stupid if it is not measured, and to a certain extent is asking for trouble.
Sometimes, there is no distinction between "lust" and "hell", and lust is hell. The more you indulge in lust, the deeper you sink into hell. Connie's cheating was discovered and confirmed by her husband. The first is clothes and shoes, then the beauty salon reservation, and then the wake-up call by the employees - this is handled very well and very naturally, the employees did not tell the boss directly after learning about the affair, but mentioned "" family", which showed Edward's emphasis on family and his whole-hearted devotion - finally asking trusted people to help with the investigation. Edward's face didn't change when he received the photo, but his heart turned upside down - I think of Connie's stunned and desperate look when she saw the photo, others were talking, what she and I didn't know, the camera turned to the rotating hanger , which reminds me of when K expressed his love for Miss in "Heart", Natsume didn't write any words from K, because like Connie, the husband was completely inaudible and was completely in a state of self-can't help but feel Downstairs in Paul's house wandered and wandered. Coincidentally, when he turned, Connie left, and he went back to visit again. Talking over and over again about family, crumpled sheets, crystal balls for Connie, Paul's "innocent" and indifferent appearance overwhelms well-mannered Edward (camera shakes), causing him to accidentally kill Edward. The blood dripped from the top of the head, and the blood seeped out from the white cloth after the body was covered, and the scene of soaking the floor was really frightening. It turns out that the quality of the murderer can be developed in an instant. Edward methodically cleaned up the scene and took the body away and dumped it in the garbage dump—the details were in place, and he would unconsciously feel disgusted and cover his nose when dragging the body. The director also used the gathering of seagulls as a hint to pave the way for the body to be found, and the seagulls eat carrion - there is such a scene in "Terrorist Cruise". It's still not a coincidence, if Connie's call came earlier, maybe everything could be turned over and reconciled.
When Connie confronted Edward, Edward was just a shadowy outline in the camera, so creepy, I thought he was going to pounce on Connie the next second. After all, the two are husband and wife, under the same roof, raising a child together. Things have come to this point, can only plan everything away from the wrong. Their whereabouts are still a mystery, and the movie doesn't give an answer. Maybe Edward will turn himself in—remembering the point of Socrates in Sizhe’s class: “It is better for those who have done injustice to be punished than not punished.” The psychological state after murder should be unstable and bad , because he was a decent man with a conscience and morals; perhaps the husband and wife comforted each other together, and lived a life trembling without incident, as they imagined.
I feel that the writing is chaotic and illogical. During the writing process, thinking sometimes jumps out, and there are too many associations. Let’s make do with it as my own film review. I hope I can keep writing it (maybe I need to force myself at first), record the thoughts of each movie watching, and review it later.
View more about Unfaithful reviews
