It's interesting that the male protagonist's love originates from voyeurism. Lao Ji set the initiation of love in such a situation that seems quite morally uncomfortable in real life. However, in the process of watching the movie, the male protagonist's voyeurism is not obscene, and even has a certain purity. And that sheerness comes from the fact that it seems to have nothing to do with sex, and more to do with nebulous, thirsty love. When two unrelated parallel lines have some kind of intersection through the confession of the male protagonist, this kind of pure loses the possibility of vacuum preservation. Such a "beautiful, loves to have sex" woman follows a love logic that is very different from that of the male protagonist. Contrary to the pure male protagonist, she prefers the logic of practicality. Under this logic, the object of love is no one. The difference is that there is a large group, so she can have sex with different boyfriends. But the male protagonist uses his existence to confirm the truth to the female protagonist, that the objects of love are different and unique. And in that positive provocative scene, the male protagonist declared his position in an embarrassing way and defended his own love. Moreover, the direct exposure of this position directly shattered the inherent cognitive world of the heroine, and also gave the heroine a valuable subjectivity and the active ability to break through closed emotions and then look at the world outwards. The film achieves a light but beautiful inversion here. But the story did not fall into the same pattern of talented and beautiful women. At the end of the movie, it was reversed again. When the female protagonist seemed to fall in love, the male protagonist stepped out again, "I won't spy on you again." It can be said that by committing suicide, the male protagonist not only completed a blood replacement, but more importantly, he completed a spiritual coming-of-age ceremony. He could finally abandon the telescope and look directly at the outside world.
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