Assuming that life is a cowardly puppet show, will the protagonist of the play jump out of the original trajectory and frame? Sheben Shuzhi was originally just a weak person who kept his duty, and he couldn't protect the gentleness and kindness engraved on the screen when his daughter, Mitsuko, abused his second wife, Taeko.
Reality teaches you superhuman energy and manipulation. Will climb the Taihang snow-covered mountains. Photon was detained for shoplifting in the supermarket, and the Shemotos rushed there. Thanks to the enthusiastic stranger Yukio Murata, they were able to escape. Murata, who is also the owner of a tropical fish shop, sincerely invites a Shakimi family to his shop, and is willing to hire Photon as a staff member. Although the Shemoto couple was at a loss, they were led by Murata unconsciously. Soon after, Murata invited Shemoto to be a collaborator, but ended up killing a man who questioned him in front of Shemoto. Sheben, who has always been submissive, was forced to become an accomplice to the mad Murata's destruction of corpses.
When Shemoto learned that Murata had had a bad relationship with Taeko, he forced Murata's wife to destroy Murata's body. Sheben became unexpectedly vicious and powerful. Sinfulness and slaughter have rectified his vain and vulnerable soul, and he has become the absolute controller in the eyes of his family. When he reported the case, he came to the place where Murata was destroyed, killed Murata's wife, became a bloody mess, stabbed Taeko to death, and finally lingered himself in front of his daughter.
Photon laughed in the face of the "dead old man" who relieved the pain of life, which is also a visual abuse and irony.
The mountain ghost cried out in the rain. If Murata is a powerful and powerful authority in front of Shemoto, who was originally powerless, but conservative and decent Shemoto became a stronger counterattack after learning about the sexual relationship between Taeko and Murata. strength. The game of power and power has led to the reversal and dislocation of strong and weak identities, and the new slaughter and bloodbath more vividly explain the tragic vitality of the script. Humans are born to be good, but to follow evil can only allow evil to come and be born. If you do not follow or even resist evil, you can only become a more vicious madman. The ubiquitous pain and shackles of life magnify the mottled blood spots, and even the waves of resentment and confusion are intertwined with thunderous force. There is no free and independent factor, only the formation of a vicious circle where violence is used to control violence. Shemoto raped Taeko in front of his daughter Mitsuko, which was the exposure point where the dark side of his nature was forced to appear. The superficial theory of goodness of nature can no longer explain the instantaneous eruption of contradictions, and it is the anti-cosmos sin that is hidden and lurking in human nature that has been exposed. The ignorance and birth of crimes are just the irrational factors that appeal to human beings, and they can only set themselves on fire in the end.
The path of tragedy lies in the sadness and despair of people's hearts. In the end, Guangguang clapped and applauded when she saw her father fell to the ground and died. It was a deep will that propelled her to fly a will of individuality. The domineering evil finally resolved the naturalization of the self in the contradiction between Chen and Xiangyin. Photon seems to play the curtain caller after witnessing an embarrassing performance by his father and stepmother.
The dismembered corpses, the cyclical rhetoric of denunciation, all show in one dimension the insignificance of the fighters on the stage of life. Although cruel, it is more of a decoration for the fragility of life, rather than a free presentation of the pioneering power of human nature.
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