The central scene of the story is chosen in a brothel, which is very suitable. This is not only a museum that displays the backside of human nature, but also a cold eye that hides in the shadowy corner of the hustle and bustle of the city to read all living beings. There are confectioners who are addicted to alcohol and prostitutes, medical professors from Philharmonic International, Japanese clients who are as fat as sumo wrestlers, and hooligans with bad teeth. Here is the essence of human nature that has washed away the splendor of the splendor - the appearance of the original appearance is decent, and the deep undercurrent can go hand in hand like this. On the surface, Shuyuan, who is dignified, demure, and indifferent, is a slut who wants to be raped in her heart; an internationally renowned medical professor, on the other hand, is a cosplayer who likes to play role-playing; the decent duke who owns a castle manor is actually a corpse lover. He seems to be suspected of being indecent; and the ruthless and vicious killer gangster also has his own unknown special charm. At least in the eyes of the heroine, he is the one who is different... On the one hand, he is a luxurious and spacious upper class. The apartment, on the one hand, is a decadent and cramped brothel, each of which stores the two sides of the ego and the id in human nature. Through extreme contrasts, the film reveals all the sentient beings who have been beaten back to their original shape. Not only on the screen, but also the well-dressed audiences in front of the screen are also exposed, the indescribable anticipation surging in the dark is displayed in every pair of seemingly pure pupils without any defense. As the saying goes, you look at the scenery on the bridge, I look at you under the bridge, in the end we are all in the same painting, let the tourists who appreciate the painting stop and comment. Under those cold eyes, there is no moral gentleman in this world. Everyone is naked Adam and Eve, and they are all objects of judgment.
We can naturally see the film as a tribute to Freud's theory. In Freund's theory, dreaming is a release of the suppressed subconscious deep inside. The subconscious is the consciousness, desire or craving hidden deep in people's hearts. It is forbidden by social customs and institutions, and suppressed by consciousness. For example, the heroine's masochistic desire to be insulted and raped under the well-behaved appearance. It comes from the overly considerate boredom of the husband in the real and stable life, from the excessively repressed sexual consciousness in order to maintain the image in reality, and even from the experience of being sexually harassed as a child - these experiences may just confirm Freund's theory of suffering. Sadistic tendencies are explained by childhood adversity.
But about the heroine's subconscious "sadistic" psychology, there is actually another understanding in sexual psychology, that is, people are subconsciously eager to do something that touches taboos, so as to taste the kind of "adventure" brought by adventure. The great pleasure of "stealing pleasure", and the pleasure is proportional to the risk. This is why the Victorian era, the most sanctimonious in Britain, was also the era of the most popular underground pornography, while in Denmark, which was the first to open up pornography, pornography almost disappeared in just a few years. In the same way, we can easily understand why the heroine shows excessive sexual indifference in front of her normal husband, but likes to satisfy her desire for masochistic stimulation by "adventure" of prostitutes and prostitutes.
The subconscious mind is a treasure trove in the heart of everyone. It is not easy to be perceived by others, but it actually exists. One of the main characteristics of dreams is the satisfaction of this desire. As a result, the dream became a licked hole in the paper window, satisfying both the hidden desires of those inside the window and the voyeurism of those outside the window.
Personally, what attracts me most about this film is its intriguing atmosphere-building techniques and ingenious structure. Buñuel did not choose a moving soundtrack, but ingeniously used carriage bells to string together the heroine's three daydreams and the ups and downs of the whole film, creating a unique and eerie atmosphere: the car bells from far and near quietly It constitutes a kind of "monotonous stimulus", which can easily produce a slight hypnotic effect. Coupled with the tones and warm shots, the resulting psychedelic feeling makes people unconsciously enter the play and enter the play together with the heroine, going in and out of the door of dream and reality. The director's cunning tricks played the audience upside down without knowing it, and finally there was a "turn around" - the paralyzed Pierre stood up, as if nothing had happened. The familiar bell rang, the carriage in the dream drove past slowly, and the long road was covered with fallen leaves again. So the audience who thought they were in "reality" instantly fell back into the dream, and the dream would be upside down and inexplicable. Russia and the big dream just woke up, but my mind is still stuck in the previous dream, and I haven't chewed up all the dreams I just experienced. The whole film starts from the dream and ends in the dream, connecting end to end and seamless, wrapping all the bizarre and absurd experiences in a dream cycle. If you look closely, you can see that everything is indistinct, and everything is in a state of chaotic ecstasy. . Perhaps in the eyes of surreal masters, the boundaries between dreams and reality are not so clear, and they can even come and go at will. And the taste of life is not like the staggered ups and downs of waking up from a dream at this time? It's just that you and I are both "in this mountain", and there are very few people who can penetrate this dream.
View more about Belle de Jour reviews
