First of all, from the point of view of the picture, the lighting shape, etc., all reflect a kind of glitz. Reporters, actors, spotlights, show, sex... all reflect a kind of corruption. Life is gorgeous and makeup is exquisite. Behind this is the desire for self-interest, and the desire is constantly expanding. The film begins with a helicopter carrying a Christ statue, and the protagonist's frivolous attitude towards women is evident from the beginning—he is also a product of life, and after reaching material satisfaction, he begins to erode, unable to find the true meaning of life. Therefore, the protagonist looks for a prostitute and pursues a beautiful woman - in his fiancee's view, it is a manifestation of chasing bees and butterflies and being tired of himself. In fact, the protagonist just feels a kind of loneliness and helplessness in this kind of life, and even feels breathless. When he and his fiancée quarreled, he showed it like this: Your love is like maternal love, possession... suffocating. This is just a cry for life, and in the end, his return to pick up his fiancée can reflect the purity and pursuit of the protagonist's heart, not a playboy. Chasing bees and butterflies is also a manifestation of pursuit: when life begins to erode and becomes meaningless, we pin our hopes on things that look good. But things that look good will also be destroyed, like the plot of his decent friend who kills his two children and then commits suicide. This not only shocked the protagonist but also me, the pointless end may be destruction.
Formally, it is composed of seemingly trivial events in the protagonist's life, without special editing, much like life. This method is the way I prefer to make films, and it is also one of the differences between art films and technical films. This series of little things are all about the protagonist's life, filming news, dinner parties, picking up girls... It seems that there is nothing else to do. And a series of absurd things mostly happened in the party, the most impressive thing for me is the party at the end of the film, a group of gentlemen and ladies of the upper class start to have group sex, which is really shocking-below the glossy surface It's not rotten anymore. At the end of the film, a grotesque fish is used to express this state of man. The protagonist said meaningfully: He is still growing up. Yes, this rotten life is still growing up, no one knows what he will look like when he grows up, the current appearance is enough to frighten many people.
The performance won't be as contrived as a drama film. I just watched "Wuthering Heights" yesterday and thought the performance was exaggerated. And the sweet life, being called life, should behave like life, and that is well done. Behaving so lowly in order to get news, and scolding for not being photographed... The vanity and lowness of the media, the vanity and lowness of actors, and even the vanity and lowness of life... Even love can't believe it, dare not Believe that love will last. It's pointless to live like a show. One of the most interesting scenes is the scene where the hero sticks chicken feathers on an actress, and the erosion is terrifying. The scene of the Virgin Mary is a reflection of the spiritual emptiness of people and the urgent need to express their emotions, so I let the two children play.
The film is named after sweet, but it is bitter. Just like Wuthering Heights looks like a tragedy on the surface, but it actually breeds infinite hope. The surface and interior of the film mirror each other. In the early days of Fellini's films, they were all seeking the meaning of life. By the time of the eight and a half films, it seems to have become a kind of individualism. If you want to put it better, it is existentialism.
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