didn't expect the film to be unexpectedly good-looking. As far as I am concerned, the richness and fullness of the various combined elements of this film is unprecedented, just like the evening sky that seems to be soaked in red juice in the film, with unpredictable but tangible color and thickness, and it is mixed with it. The magic is even more colorful. For example, the heroine Tita is good at cooking and can transfer her emotions into the food cooked, so that the people who eat it will have similar emotional reactions-the sad cake she made for the elder sister's wedding makes all the guests grief Desire; her roasted rose petal quail with love in her heart makes the family lustful, especially her second sister. The water in the bath can't quench her lust. She rushed out naked and was caught by the wind. The cavalry who came (this is the real smell of "wind", or in scientific terms, sex pheromones, haha) took away... What's better is that these magical colors are by no means a gimmick that attracts the audience's attention. Breastfeeding a virgin may seem absurd at first glance, but this paved the way for Tita's mental disorder due to the death of his nephew. When the doctor came to pick Tita away from the farm for treatment at his home, the blanket she was wearing dragged down the carriage and stretched endlessly along the way, reminding her of her long love or sorrow. Accompanied by the spirit of Tita's deceased mother, in addition to lightning and thunder, there is also the same power and control as she had before her death. Tita slowly plucked up the courage, not only drank the undead, but also drank the niece's right to free marriage.
After a long time, the magic fades away, and the character image becomes fuller and fuller. Tita is a typical traditional woman who is good at cooking, loves housework, kind and tame, and her heart is full of love for lovers and love for children. This love finally allowed her to overcome her fear of a powerful mother and begin to dominate her life. What impressed me more was Tita's mother. Although tyrannical and tyrannical, sacrificing the happiness of her youngest daughter's marriage, she is a proud and strong woman who manages the farm alone, brings her three older daughters, and recruits son-in-law. Everything is handled in an orderly manner. She was able to chop watermelons and fired warning shots without hesitation when the exiled bandits broke in. She is not without a fragile side. The second daughter followed the rebel cavalry. She burned her daughter's birth certificate and photos to show her break, but fell into her daughter's room and choked alone. After her death, Tita discovered the secret love that she had buried for many years in her mother's heart, and finally let her forgive her mother, of course not from the perspective of her daughter, but as a woman, she was too familiar with the pain of separation. Tita's second sister is a special existence. If Tita is a warm land, she is the wind, sometimes quick and sometimes soft, but always blowing far away. She may be one of the ideal women in the author's mind. Although she doesn't have much time on the stage, her unusual chic, following inner heart, judgment of the situation, and concern for sisters are not in the expressive details. An omission also deeply attracted my attention.
I really love the narrative perspective of the film-Tita's grand niece Esperanza is in the kitchen, starting from the recipes left by Tita, leading to the whole story. At the end, the camera returned to Esperanza. Tita and her niece, who had died a long time ago, appeared beside her, smiling at each other. At this moment, time is compressed and countless memories rushed in. The gaze at Esperanza was the calm after all the gains and losses of love and hatred, and the gratification of seeing the happiness of the beloved. "A new story has begun. We You can retreat" peace of mind. This ending leads people's thoughts to the depths of time. The continuous blood, the passionate emotion, the oblivious past, that is our eternal topic.
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