The transition of the film between the two themes is deliberately false, which brings out the father's part of the story.
Just comparing the works before and after the director, the uniqueness of "Samaria Girl" is that its setting is not closed. Although the two girls are in marginal groups, the appearance of the father's role in the latter half of the film completes a reversal of the theme of the film. The desolation and sad end left a faint hope.
I have always believed that the core of the film is the relationship between the daughter and the father.
Moral criticism is false, cruel youth is true. It was the shock caused by the departure of his father, and the young girl driving around on the road, "The Samaritan Girl" is more like a youth film in my eyes-the pain of growing up.
Perhaps in the eyes of more people, "The Samaritan Girl" is closer to being an ethical film, but I have no longer bothered about the ethical film that is similar to the painful reflection. "The Samaritan Girl" does not need to reflect on the aid of communication or blame social reality, on the contrary, the ups and downs of the girl's fate is a footnote to her growth. Abandon those tedious preaching and incomprehensible Buddhist teachings, and disdain the ostentation like Park Chan-wook.
"Next, you can
leave by yourself. Dad will not follow you anymore." Father surrendered and left. When the girl found out, she drove to chase, and the car stuck in a puddle and couldn't move forward. The exhausted girl has gone through the ups and downs of her heart and finally returned to her own path slowly under the infection of her deep father's love. In the future, she will need to stumble along the road by herself, and no one will support her.
In the face of fatherly love and growth, I always think that the theme of the second half should be called "return."
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