The first part is very similar to The Reader and Paradise Lost, especially Paradise Lost. Surprisingly, it is actually a frontal collision contradiction, rather than the "wiping" of the first two. I always feel that this kind of contradictory confrontation has long been abandoned, and there is probably no shortage of preludes to Chinese ethics dramas. But not after all, fast. Uncle Tie still has the same temperament. The emotions between the hero and heroine do not need to be explained, but one more word: I am really upset that I will tell you about feelings, and you will tell me the tired people of morality, etc. The point is that the death of the son after the second woman heard the news is the point of grief. After enough thought, she faced her husband's first topic of infatuation rather than death. Finally, hand in and out of the grief over the death of his son. As for the meeting of the middle daughter, they came out of the room and Uncle Tie's later practice. Obviously, there can be more scenes of my daughter to express her, not just Uncle Tie (I know my daughter's reflection can express her). Maybe the movie capacity doesn't allow it? I'd better read the book myself.
At the end, in the confession, Anna and Pete are no different from anyone else together. A decade or two ago, this was the normal outcome for women. But now it's getting more and more wrong, and I probably have to look at the development of women's rights. If it seems now, the ending is somewhat compatible with Sabina of "The Unbearable Lightness of Life". The characters are not compared, it is easy to see anyway. It's even more strange that in "Half Life", the passion is still there when we meet. It's not that the passion of making specimens can be reminiscent but not "upper body", but fresh. This kind of freshness is the freshness of "Lolita", which is lighter in comparison. Probably time is running out haha.
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