Seriously, it's a movie that's hard to watch without being kidnapped in its seat, and has to constantly swindle meaning out of the hostility of the Left Bank.
Meaning moves with the viewer's perspective.
I see existentialist notions of death in the descending organ, the black-and-white feathered mantle, and the laissez-moi. Facing the entangled male protagonist, the female protagonist is trading an "eternal delay" with the god of death.
The montage has hit the ornaments in the heroine's room, corresponding to a row of shooting men and a card game, and is the source text of the narrative in the lobby and bar. There is a mirror on the fireplace, and it is also a painting of the garden. When the heroine sees herself and the hero walking in the garden, it is like seeing the death beside her in the mirror.
She never walks out of the room, and the whole story is in her "rejection of time", which can be understood as a suicide rehearsal repeated day after day for lust that has nowhere to go.
Perhaps the transition action of stroking his shoulders is a parody of Rodin? The back of the hand moves from the jaw to the collarbone, from a painful thinker to a bored being.
And the boyfriend is corresponding to the narrative structure of Westworld, whether it is character-centered editing, looping timelines or static characters, it is difficult to say that the Nolan brothers have not been influenced by this film (just use commerciality to buffer the excessive literary nature).
The scenes other than the bedroom are like a copy of the game. The death of the female protagonist, the death of the male protagonist, and every failed "elopement" are a form of death in the game. Time has been dismembered in the two and five dimensions of possibility. Exposing an attempt (marked by one of the heroine's costumes) cuts the time lines that have appeared together to increase the difficulty of watching the movie.
Did the ending really "clear" successfully? Not necessarily, maybe just an intermediate stage of one of the trial runs.
Another interpretation is that the male protagonist intends to tamper with the memory in the strong emotion of unrequited love, and keeps approaching the inevitable failure in various ways, which is another kind of "questioning the view of time".
From the mutual stimulation of questioning and refusal, texts are produced, and avant-garde philosophy is avant-garde imaging. The French New Wave is the canon of the post-canonical era.
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