Who is in charge in this relationship? Of course it's Lawrence. When he decided to make a public cross-dressing, he appeared to be sincere and frank on the surface, but it was actually a bargain: no matter what you think, I am going to make a public cross-dressing anyway. (So Lawrence's mother did the right thing at this point: since you don't consider other people's feelings when you make decisions, when you're in trouble, you have to deal with it yourself.) When Fred decided to go through it with Lawrence , Lawrence did nothing for her except promise "I will change, it's just an adjustment phase, it's normal", and Fred just gave himself a reason to leave under the guise of an affair. When Fred finally started a new life, got married and had children, and pretended to forget the pain, Lawrence dropped out of the sky for what he called love, ruined her marriage at will, and then walked away. The most terrifying thing is that after the second reunion, Lawrence even shied away the emotional entanglement between the two people for ten years, trying to convince the other party to convince himself that the mistake of the two people was not because he announced that he chose to openly transvest sex! It was this shameless shirk of responsibility that made Fred lose his heart to him completely.
The reason why the two people are so entangled is because Lawrence always pretends to be pitiful and sympathetic under the pretext of pursuing his true self, and hopes that Fred will obey and accommodate him. He knew that Fred loved him deeply, and as long as he had even a little thought for Fred in his heart, he should leave after the first breakup. The failure of this love is not because of the various problems that existed before Lawrence publicly changed clothes, but because Lawrence let Fred down again and again, because Lawrence never faced his selfishness. Because Lawrence was unwilling to accept the mistakes he made in the end. So Fred wanted to run away: "Stop talking about society with me!" It really has nothing to do with this society. Fred knew very well that the mess of the two was caused by Lawrence. As for why Lawrence also secretly left? Because he finally understood that Fred didn't want to pay for his mistakes again. We always talk about being honest with our true self, but do we really know the cost of this "self"? Of course Lawrence has the right to disclose himself, but is it fair to use Fred's love as the price?
This is the first time I've seen Dolan's film, and the handsome director who is younger than me is unexpected. I don't watch much, and most of the films I've seen before focus on depicting how a few people face social pressure. But Dolan chooses to describe how "a few" cast themselves into exile. This group of people blames society and others for their tragedies, while downplaying or even turning a blind eye to their own mistakes. It's not just this unfair society that's sad, it's the losers who refuse to take it.
The tones of the film are occasionally reminiscent of Wong Kar-Wai, but the costume styling is simply stunning. Originally, the perception of the 90s dress style was very vague, but after such a three-stage plot comparison, it suddenly became three-dimensional. The lens is also very stylized. Although it is used in many places in a rather immature and awkward manner, the central push lens and the 4:3 screen ratio actually create a sense of depth and breadth. In particular, in 40 minutes, Lawrence made his first public appearance in disguise: when he stood in front of the podium in horror, the air in the screen was as stiff as thin ice on a lake, and the audience I also deeply felt the embarrassment of the students in the camera. When this embarrassment was broken by a question, the camera began to move forward slowly and accelerated until it was fixed on Lawrence's medium close-up, allowing the audience to clearly see Lawrence's relief (he thought he was accepted by everyone). This follow-up shot and the subsequent first-view shot of the corridor, coupled with Headman's "Moisture" as a BGM, simply and directly showed Lawrence's inner pressure and the actual views of the people around him. In addition, Dolan also likes to use long shots that constantly move back and forth between the speakers in the scene where the two people are talking. This movement of the lens strengthens the interaction tension between the two sides, and many independent directors like to use it. It can be said that Dolan not only has ideas, but also understands skills, but unfortunately he lacks moderation. MV-style slow shots are good-looking, but if they are widely abused in a 168-minute film, they will only increase the burden of watching the movie. Not to mention that the bad editing also weakens the characters and wastes the first-class acting skills of Melville Pope and Suzanne Clermont (Melville Popo is really like a Chao Ye, but his acting charm and height are better than the tide. No pressure! Blinks and small gestures with fingers on lips make people go crazy in minutes). The plot of the three time periods, the second and third paragraphs are reversal scenes, but Dolan spent all his energy and time on the first paragraph. It is the most unsatisfactory part of this movie that I only get to the point after watching people drowsy.
Many other film reviews have been written, and the impression is roughly the same, so I won't say more. What I admire most is the tension of the second paragraph and the revealing of the third paragraph. After reading it, I asked myself, is it more miserable to live with a silent heart with the person I don’t love, or is it more painful to quarrel with the person I love day and night and hurt each other? About the truth of love, Yi Shu said that there are no more than three kinds - marriage, breaking up or perishing together. Although the ending of Lawrence and Fred in this movie is not too bad, Dolan's return to the beginning of this love in the last five minutes is too cruel to compare with the love and hatred of the previous 160 minutes.
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