What attracts me most about the film is the philosophical discussion about art and imitations at the beginning. This proposition is gradually diluted in the film along with the rhythm of the film, thus completing an imperceptible interpretation and reversal (from arguing to quarrel). , from a rational question mark to an emotional full stop).
In fact, Mona Lisa's smile and the look of her lover when they depend on each other are "real". However, what the male protagonist sees is the "reality" of Mona Lisa's smile that is independent of any work, and this "reality" has "originalities" that only belong to that time and place. Therefore, under this "original" perspective, artworks and imitations are equally powerless to share the "truth" of the art object itself, but still enjoy their own "truth" in their interpretation of the art object. Thus, it is not difficult to imagine that the world in his eyes is self-contained, independent, fluid, and interpretive. The heroine is different. She sees the works in the expressions of people facing the artworks, and she also sees the boundless arrival of "truth" in their expressions. "Reality" does not have the "independence" that belongs only to the "real" circle, it is shared in people's emotions, and it is the possibility of this sharing that gives works - whether they are artworks or imitations - - with meaning. So, her world is interdependent, eternal, and full of the inner language of life. Juliette Binoche's final line "JJ-James" (as a poet who enjoys originality), and the smile on her face (as a wife who finds real comfort in emotional interactions) may mean this. The two viewpoints reconcile in a simple way in life, but do not give an answer in a philosophical sense.
Not so Abbas' films, good-looking and chewy (to be honest, Abbas has always given me the feeling of being chewy but not good-looking).
Then Juliet Binoche of the village (sorry, I really can't stand her image other than "Blue", I always feel that the more I look at the village, I, repent...)
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