The first is the conflict and reconciliation between father and son. The son's rebellion and the father's lack of explanation are probably the reasons for all the generation gaps. The son wants to prove his existence and ability, but he does not speak out directly about the quiet and heavy father's love. There is a generation gap, the son is on one side, and the father is on the other side, but love still connects the two sides. You can beat him and scold him. In times of crisis, the son is still the son. You can annoy him and hate him. In the face of death, the father is still the father. However, it is better not to understand each other when facing death.
And there is death. No wonder it's called the Abyss of Death, and death doesn't seem to leave any underwater scenes. Storms, rapids, ventilators that suddenly don't work. . . When my father said to move on, I suddenly had a question: what's ahead? Except water is still water, water without end, darkness and unknown without end. Can you come out alive? That scene left me feeling helpless and hopeless. . . Then, the director threw a question: When facing this death, what is a person's choice? It seems that I have encountered this problem in writing or reading places before. This time I encountered this problem again, but I had to think about it.
Judy is in distress; a companion who hits a rock; a companion who suffers from diving disease; Carl's girlfriend gets his hair; Carl grabs a ventilator; Carl grabs a light stick; in the face of death one by one, how will I choose? What's the difference between dying one and both? Is there a moral burden to end a companion's life? Are our peers' excuses for abandoning ourselves an excuse for us to abandon them? Are those who betrayed themselves in the face of death worthy of sympathy and trust? Is flank's choice correct? Is there a right or wrong choice? Are there just and immoral choices? When others make choices for you, can you give them enough trust? When this trust is not enough to convince my sanity, am I like Carl?
And my value. My son asked my father why he had to explore, and what my father said touched me very much: I only feel worthwhile when I explore a cave. More persuasive words, I feel valuable, whether he is caving or working, whether he dies or what.
Also, there's one episode that feels abrupt: something seems missing from a dialogue between flank and his son meeting Carl, who stole a ventilator and starved to death. Castrated? ! However, from the information given, I guess that Carl may have done something that violates human morality... One is the blood on Carl's face, one is the dead body of Carl's girlfriend, and the other is the flank father and son's disgust for Carl
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