1. The male protagonist finally strips off the clothes of the real son of "Mama" buried under the tree, puts it on himself, and lies next to "Mama". That is, he knew the ins and outs of everything, and still chose to hold the arm of "mother", and chose to believe that the dress was still related to him. This is the "wake up part of humanity" after redemption.
2. It is easy for some viewers to simply substitute Michelangelo's image of the Virgin and Child into the hero and heroine because of their unfamiliarity with Christian theology and Kim Ki-de's own theological views. In fact, Kim Ki-dok's focus is not on discussing who is the Virgin and who is the Son; what he wants to talk about is the mother-son relationship, or the most fundamental and most sincere emotions in the world. What Michelangelo's statue touched him was not the "sin and redemption" of theological thinking, but "the root of human nature".
3. The final jump of "Mom" is also the redemption she chose by herself. Like the foundation of all narratives in the film, this self-redemption also comes from the most basic human nature. She has love and shame for her son (because she forgave the enemy), hatred, love and compassion for the enemy. So what about herself? I'm afraid that because of these complicated emotions that can't have a way out, only by jumping off can I be freed.
4. Therefore, there is no saint, no Virgin or Son in the whole film, only ordinary human beings who are drowned in emotion and reborn in emotion. Michelangelo's statue of the Virgin and Child is just a metaphor for the emotional theme of the film (mother and child and the general basic emotions by extension), not a theological analogy.
5. If you can't see Kim Ki-deok's strong focus on basic emotions, but only see the ethical and theological framework emphasized by religion, you will naturally only see (construct?) things like incest that are "acceptably difficult". It is very uncomfortable to see mountains that are not mountains and water that is not water.
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