The American version of Fang Siqi's first love. Probably no matter which country you are in, the stories are always similar, there are always some people with the same ugly face, the difference is that in Lin Yihan's book, she is called Fang Siqi, in Jennifer's film, she also It's called Jennifer. That's probably why, of two similar stories, one of them turned out to be pure tragedy.
The 48-year-old documentary director has a fiancé who loves her very much. It is hard to feel that sexual assault in the name of love occurred in this person's childhood.
Even for this successful woman, it is difficult for her to put herself in the position of the victim. She is unwilling to admit the harm caused by her ignorance, even if she is old enough to understand that an adult says love to a child is a crime, She also chose to seal up this 13-year-old memory.
Until her mother discovered the stories she had written and the letters between them.
Memories begin here. The childhood and the current heroine gradually merged in confrontation again and again. When they finally fell on the toilet wall, she finally admitted the previous injury and the impact of this injury on her. Then from now on, she can get rid of the fear of marriage, and some kind of sickness of love.
Childhood sexual assault is actually an outdated, but never outdated topic. We have seen too many excellent works on this topic. They have different angles. The melting pot focuses on people's struggles about it. Suyuan focuses on the warmth that others give to the victims... This film is very special, it focuses on What matters is the lasting impact of sexual assault on a child's life, especially the spiritual level. And the process of the affected person's gradual awareness of this influence, this kind of subtle transformation process can only be filmed by the director as a witness.
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What is special about the structure of this film is the double-line narrative. Of course, the double-line narrative itself is by no means special. What is special about this film is that this kind of double-line reflects the heroine's mentality about her former self, and she likes to make it double-line. Some of the fusions - Jennifer as an interviewer asked questions to the parties in the past (this is a good use of the particularity of the protagonist's occupation). The childhood Jenny declared to the current Jenny that it was not the time to hurt but to love, that A twisted, sick look; and the one on the poster, two Jennifers leaning side by side against the toilet wall.
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The more controversial point is Mrs G's handling. The victim became the perpetrator, but the director did not give any accusation against her. It is difficult for us to talk about the director's mentality, but while Jennifer provides the film with a witness's perspective, a certain degree of loss of objectivity may also be inevitable.
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