The demolition of the hero statue and the establishment of a square square symbolizing freedom and democracy are self-evident political connotations. Take advantage of several moral dilemmas faced by elite curators (in terms of text), conversations about sexual morality with friends, video apologies to poor boys, and reporters’ questions about the upper limit of free speech (Is self-censorship an elite joke? ), which fully explores the boundaries of free speech and political correctness and the possibility of understanding between elite and commoner classes.
The elite's pursuit of decency ends up killing themselves, of course, this is not allegorical.
The director used the orangutans to trample the cultural elites who are symbols of civilization in evening dresses, forming a situation in which modern civilization and primitive animal nature are incompatible.
And the foreign, unshackled American female reporter was able to live in harmony with the real beast orangutan at home.
This interesting confrontation shows that the cause of those problems is a structural problem of modern civilization, with deep vertical causes (eg European aristocratic culture).
The absence of the director's value judgment is very rare. It is only at the end of the protagonist who went to look for the little boy to apologize after the protagonist was fired, showing a little bit of his expectation of reaching understanding. I personally think this is okay.
Cannes realism works are much higher in vision and concept than domestic realism works. The only fly in the ointment of this work is actually the group performances in the climax scene. They all bow their heads and wait for the first person to break the diffusion of responsibility effect. "The director wanted to highlight their hypocrisy and make them bow their heads out of fear and shame" I understand that it should be understood, but I don't agree, because the director made me play in a paragraph that didn't want to break the fourth wall.
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