The two little ones have no guesses, such a warm translation, but the hero and heroine finally chose to be buried in a concrete pillar for love. I don't know why it reminds me of the pair of hard-fought mandarin ducks in "Wuthering Heights"--they are childhood sweethearts whose feelings are hidden in the fight against power. The dark grows but dares not face it. What follows is a long-term separation, almost cruel revenge, and finally realizes that each other's life cannot be without each other, and chooses the most decisive way to fulfill this life that has been let down for too long. Love is as decisive as a childhood bet.
I don't know if this film can also be footnotes like "Flying Over the Cuckoo's Nest" with "the noise and commotion of liberal intellectuals", but he did boldly mock modern civilization, social system, traditional education model, everything can be Take the CAP (bet). The love based on this spirit of rebellion is utopian. She is arrogant and contemptuous of everything. She is destined to be out of touch with reality and not to be understood. She neither disdains nor needs worldly approval-she is self-sufficient.
However, does the hero and heroine choose to die in the cement column, does it imply that this kind of utopian love will eventually be buried in the modern industrial civilization?
The director seems to be praising a cynical attitude towards life in a light-hearted tone, but finally chooses a heavy relief method, burying the fiery passion for life under the cold cement, in order to express a deep dissatisfaction .
In the end, he still couldn't bear it, and ingeniously designed a double ending, which made people see another possibility: holding the hand of the son and growing old together with the son. Is it to please a part of the audience, or to express some kind of ambivalence of his own? unknown. But even this ending, is it really comforting?
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