Of course, what the film presents is only an art form. In actual life, most foreign young people still grow up in ordinary and healthy environments. There are also many irresponsible parents and broken families in China. The movie just magnifies the rebellion and confusion that everyone has experienced in adolescence, and packs the seemingly insignificant thoughts of "bear children" with curiosity and heavy tastes, and presents them to adults who pass adolescence safely, as late adults. present.
Therefore, films about teenagers, whether they are reminiscences or reflections, have always been shot for adults. Only when they grow up can they experience the struggle and pain of a girl or teenager like Minnie in the process of constantly searching for "being loved".
Psychologists call adolescence the "psychological weaning period." Individuals must be psychologically separated from their parents' protection and attachment to their parents, and grow up as independent members of society. However, young people are unable to adapt to this "independence" in a short period of time, which leads to the production of "loneliness" emotions.
Minnie thought that by becoming an adult as soon as possible, she would be able to get rid of this loneliness, someone would come to love, and she would be able to get the hugs and kisses she had always dreamed of, which could make up for her missing fatherly love and the alienation of her mother from her.
She always has the same big eyes as Bambi, looking up at other people in this world, hoping that they can bow their heads and give her a little warmth. No matter if the person is her mother's boyfriend, or the marijuana-smoking Lara in the corner of the bar, as long as someone needs her, little Minnie is willing to devote all of her enthusiasm. She almost crazily yearns for touch and sex, and experiences "being loved" in this way.
However, she soon discovered that these people were as vulnerable as her.
The handsome and golden boy of the same age, seemingly unruly, was frightened by the enthusiasm shown by Minnie.
Monroe was struggling with a life without accomplishment, hiding in her arms under the effect of psychedelic drugs and crying bitterly. Minnie finally heard the phrase "I love you" in this situation, but she did not have the ecstasy she imagined. She seemed to suddenly reveal a corner of the real life, that short glimpse, I don't know why she no longer yearns for the adult world so much.
And when she turned to rely on gentle homosexuality, she realized that this person just wanted to use her for some pocket money. None of those promised farts, Tabatha is just a cool addict with a cool appearance but corrupt inside.
When Minnie felt that she had nothing, she unexpectedly received a reply from her idol. It turns out that a really cool adult does not disdain the love that others give, but is enthusiastic about his own world and dreams, and lives for himself.
In the end, when Minnie realized that the mother she had always wanted to be could not take care of herself, and could not survive even without a man-she really grew up, had her own sense of independence, and made it clear that she wanted to be What kind of person, and don't want to be what kind of person.
Going back to the beginning of the film, Minnie looked at her undeveloped nakedness in the mirror and thought: "I want to be older than I am now. I feel very lonely. How I wish someone could love me with all my heart, and love until I die. To the extent that he can't survive."
My dear girl, such a person will never appear. Since your birth, you have been an independent individual. Parents, friends, lovers...whether active or passive, they will eventually leave you and take away the love they gave you at the time. And the true grown-up is to be able to walk on alone after losing these loves.
Because, there is you, you can love yourself.
I don't want to understand this film from a feminist perspective, because the most resonant thing in the film is the inner growth of a young girl. When Chinese people are still reminiscing about youth in "My Girlhood", watching the love stories of boys and girls who have been beautified by the screenwriter several times on the screen, and taking out tissues to wipe away the tears of self-deception on their faces, American youth movies have long been Open the scabs of the audience, let you face the bloody growing pain.
Not pleasing, but true. Uncomfortable, but effective.
Less smirk, more reflection.
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