The second time Michelle recalled being assaulted there was a key turning point. The laughter that passed by there explained everything, and it happened to also explain her father's background (conversations with her mother, TV broadcast related reports). But after that smile, I continued to save the sparrows. I think these small transitions are mixed with a lot of humanity. The general genre film will be very abrupt in this way, but Van Hoeven and Huppel deal with it naturally and plumply. If you are a character, you can lay the groundwork at any time to comfort you at any time, so that you can't extricate yourself from following his rhythm.
There is also Michelle and Richard, a couple who have broken up. They are my favorite relationship in the film. Michelle said, "I am not worried about a woman with big breasts and dishonest, but I read "Second The woman in "Sex" will eat you, and then vomit you out", knowing what she did to her current girlfriend later is a laugh. The self-deprecating content in it is strong, but it also contains both of them. Feelings that haven't disappeared. This can also be felt when the hospital used two lines later to explain the reason for their breakup.
In addition, after Michelle saw the black "grandson", she ran outside to talk to herself with the nurse alone, analyzing her relationship with her son, son and Anna, and it was even a little moving. In fact, she is a person who encounters problems including ideological difficulties and is always looking for a way out of herself. External help can never solve her own problems. The extreme externalization of the film has triggered various projections of male and female rights. In fact, We didn't get out of the crux of the problem, because many times we can't do what she did. "She" is idealized. We will always only put the blame on the fate, social environment, and human condition accidents. Anyway, it won't be ourselves.
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