From the very beginning, the sound of male violence and female moaning was heard. The first shot was the classic yin and yang picture structure. The film started after the female protagonist was domestically abused. And the last shot is of the heroine and her best friend walking out of the cemetery and facing the sun hand in hand. Many people will be exhausted on this film, because it has many narratives and scattered in the eyes of many people, but I don't think so. On the contrary, a major thread of the whole film is to lay out the structure around the heroine. I will put more structural nodes on several rapes. The "fear" and "fear" in the whole film are based on the first rape. Different from traditional horror films, the fear it brings is [From inside to outside (bushi]. There is a very interesting arrangement. After the first two rapes (not counting the attempted rape), I quickly switch to a terrible (maybe I think it is terrible) game interface, and the screen is broken. Gives a very strong discomfort, which leads to thinking - what happened in between?
The game screen after the first rape is a monster raping a woman, the game screen after the second rape is a heroine, and while I was expecting what would happen in the third time, the rapist died. Unlike other films of rape and sexual violence, the female protagonist is actually constantly redeeming herself, whether it is buying anti-wolf spray, an axe, learning a gun, or preparing in advance to drive the rapist away, or actively seducing, She gradually took the initiative in this exposed relationship out of fear and disorientation until the end of her death. This structural self-salvation has instead brought us a postmodern tragedy. Because salvation loses the past social relationship in the disorder, loses the relationship between the individual and the other established by the phallic symbol, does not gain the sublime of tragedy in the absurd, but promotes another kind of tragedy in the self-dissolution.
Compared with the structural self-rescue, the disorganization of the dissolving structure in this film is the element that presents and disintegrates the structure. What is the chaotic, disorderly dust of this film? Domestic violence led to divorce, the father was a murderer, and the ten-year-old's family was fragmented. These were gradually unveiled in the film, and new chaos continued to be added - sexual violence, rape, and the greening of his son. All the dissolution of disorder brings people loneliness, loneliness is due to the failure of reason, the heroine lives in the shadow that no one knows why her devout Christian father killed her, and her beliefs are also absurd. The pastor’s father killed countless people. Caesar's female neighbor said "Thank you for giving my husband what I didn't give". People have nothing to rely on in social life. Along with the dark tone of the whole film, people's loneliness becomes the background color of the whole film.
When the heroine said something to her ex-husband, I was also very sensitive: "A woman who reads second sex will eat you and spit it out." Perhaps it was her loneliness that led to this. In this film, the role of women is both a deconstruction force and a liberation force, but in the heroine, she does not believe in it, or even though she is self-deconstructing male gender rationalization power, feminism After all, the liberation of women is indeed a clear demand, and abstract gender equality cannot give a woman who is deeply fearful of motherhood, unequal and immoral sexual relations, sexual organs insinuations, and desires.
The title of the film is "She", a lonely woman, but not only the heroine, but also the female neighbors, girlfriends, daughters-in-law, mothers, etc. Women are dissolved in the fragmented life, but it is difficult to obtain the real life. freedom, equality and happiness. Although the ending is facing the sun, I still want to treat it as a helpless tragedy.
View more about Elle reviews
