Play-within-a-play and "scripted life" (like Westworld) filming are no longer new, but director Bedos, who likes to discuss love themes, is adept at capturing the novelty. The opening medieval court group drama is anti-routine, full of surprises and eye-catching. Although it has some "Hollywood" taste, it has some French romance and humor, and even a little irony. The rapid editing of the film makes one feel a strong and disturbing conflict: the conflict between the modern, technological, indifferent and materialistic world and the retro, simple, spiritual world of the 1970s, both in the two. gradually exposed in the marriage relationship. Marianne needs freshness, excitement, and a warm life; Victor is lost in these conflicts with life, the world, and Marianne, gradually losing inspiration and complaining about life.
This is a movie about love. In the eyes of many people, maybe love is a narrow and futile thing, it is unrealistic, unpredictable, and hysterical. In the eyes of French directors, love is a serious matter. Garrel's capture of the relationship between men and women, and Ou Rong's capture of sex and affection are all subdivisions of love. They are familiar with the sensitivity of women, familiar with the capillaries of the ever-changing emotions. The same goes for Nicholas Bedos. In "The Adelmans", he discusses marriage and love; if death is the end of these entanglements, then love should have no end. Relationships can end, but love doesn't. Like a can of pineapples that expired on May 1st, it stays on that timestamp forever.
In this "Belle Epoque", the director discusses through the constantly reversing plot, perhaps not the trivial and the same daily life of marriage and family that makes love wipe out and dry up (only one line in the whole film mentions this topic), but focuses on In the cycle of love, when you think it is gone, it always flashes inadvertently; when you think it is always there, it is nowhere to be found. There is no ending. If you are apart, you will rise and fall, and he will fall on you. Whether it is searching or chasing, it may be that the journey together is too long, but the meaning of love itself is forgotten. It seems that each of us turns around a thousand times when we face our feelings.
In this, there is some irony: when Victor said with a blank face that she was dead, when he looked at Margo with stars in his eyes, when he picked up the brush again, excited When sharing his joy with the people around him; this is not a kind of ironic reincarnation: it turned out that what he wanted to get back was just that warm, youthful touch. Similar to "The Adelmans", the pen and ink focus on the process of love, discussing the beginning of love, the wandering of love and the disillusionment of love; the director did not discuss the end of love, did not give the protagonist an answer, and did not give the audience an answer Answer. After such a thousand turns, the final result is no longer important. The process of love and finding love, chasing and losing, is the most important expression in the story.
In the end, the opening scene seems to imply that love itself is like a Russian nesting doll, layer by layer, one by one, you think you can see it clearly, but in fact it is so complicated, who is in whose inception?
————— The following is a spoiler, please choose to eat ——————
1. In the film, I really like the transition design of Victor's shave. At the moment when the snow-white beard falls, the razor seems to be a weapon of time, and it shaves off the traces of time.
2. The reincarnation mentioned above is not only the reincarnation between vetor and marian, but also passed between different people; the line between margo and antonio is more like the reincarnation of vetor and mary at that time node in the past Anna, will they remember this day again after 25 years?
3. Although the overall soundtrack, rhythm and mood are sad and cheerful, such a terrifying plot still makes people doubt about love and marriage. The freshness, jealousy, and enthusiasm of love make people feel hopeful and longing, but is that what love is all about? When people fall into the pursuit of love again and again, does it represent the sacrifice of "self"? I remember a line in "The Adelmans" "I loved him for so long in the fear of losing him", without these intricate entanglements, how would love be as it is?
4. There are several scenes and lines in the play that make people moving, and the lines are also well designed:
"what kind of job do you do"
Marianne said: "I do everything, marriage, raising children, career, everything"
"We are happy because we are allowed to do things we cannot do"
"You flirt with someone as a stand-in for your wife"
"yes"
"I'm just asking for the lover of my memory"
"Yes, but without the accompanying sadness"
"You can't do everything you want, you have to accept disappointment and blame, you have to accept that I will be dull one day, otherwise we will always live at the beginning"
If love is eternal, then it can also be static.
5. The crappy translation I found because Marianne liked Samuel's lines the most:
"All men are liars, fickle, false, talkative, hypocritical, proud and cowardly, vile and sentimental; all women are treacherous, false, vain, curious and depraved; this world is but a bottomless sewer, the most shapeless The seals are there crawling and writhing the muddy mountains. But there is something sacred and sublime in the world, and it is such a perfect and terrifying union of these two lives. We are often deceived in love, often hurt, often not Be happy; but one loves, and when one stands on the edge of the grave, one looks back. You say to yourself, "I have often suffered, and have made mistakes sometimes, but I have loved. I live, not a fake created by my pride and boredom.
*~On ne badine pas avec l'amour~*
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