"Into the House" is about a writer who has a dream but The middle-aged French teacher, who has always been frustrated, was attracted by a student's "peeping" French assignments in the family's life. As the student's story progressed step by step, he was also deeply involved in it, but he didn't know that he was a reader and had already become a drama. Chinese. He was finally suspended and separated from his wife, but he also seemed to have broken away from the shackles of the world and turned around and walked into the world of "voyeuristic literature" together with the boy.
This is a movie about intervening in ordinary family life and producing dramatic effects, plus his suspense tag, let me automatically put him in the "fun games" category (a movie with three views destroyed, no mention it), no further questions. Who knows, after watching this movie, what I thought of was "The Reader", "Wonderful Brush", "Shadow Writer" and "Transcendence". . But what none of these movies have, and one that I rarely feel, is this "play within a play" rhythm. In a film that speaks of the reader as a participant, the audience is also forced to participate. The boy describes being peeped into the family, and the teacher and his wife are the readers, but when the perspective changes, in the end, the teacher is unable to extricate himself. The repeated point of view in the film turns to the outside of the screen, which is all empathy with the audience. And in the plot, some tense, full of tension, dramatic plot, push the audience to think, right? In the end is this what happened in reality or is it just a "novel plot" in the mouth of the teacher? Obviously sitting in front of the computer and watching a movie in a grand manner, but a sense of guilt and excitement of peeping into other people's lives.
Many people say that this movie is exposing the so-called "voyeuristic desire". I don't think that director Ou Rong wants this movie to realize this voyeuristic desire that everyone has. Under his "pen", although this kind of invasion is not neutral, he only acts as a spectator and is not biased. This also highlights what everyone refers to as "the author is dead" (only once the author has finished writing, the metaphors in this work can be drawn by the readers themselves, and the author has nothing to do).
This movie is really like a book, with the story tension, imagination and blank space in the form of a book. Even the feeling of pulling away after the movie is more like reading a hearty novel than a movie. The overall tone is bright, but it does not make people warm, and the style is steady and steady, and it really has a European movie style. The last scene is said to be a tribute to the "rear window", but I didn't find anything similar to the theme of Hitchcock's "rear window".
In addition, many metaphors are also reflected in the film, I only watched it once, and only had a few impressions. There is a saying in the movie "Even if you are barefoot, the rain can't dance." It appears many times, which means that even if you yearn for freedom, you are bound. At the end, the teacher was alone, freed from the shackles of career and family, and finally returned to his inner self. He is the only person in the movie who can dance in the rain with both bare feet, right? The Chinese elements of the two appeared repeatedly, perhaps because of the coexistence of French trade relations and fears with China at that time? The ghost knows, maybe the second brush can understand it.
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