"The Girlfriend Experience" (The Girlfriend Experience) comes from Steven Soderbergh and was produced in 2009. Since this film, Soderberg has already updated his work (The Informant!). As a film focused on senior call girls, the heroine of the film, Sasha Grey, is a well-known adult film star. The IMDb link of this film is http://www.imdb.com/title/tt1103982/ , the score is 5.9, and more than 3000 people participated in the review.
My favorite part of this movie is about 70 minutes. The heroine Chelsea was asked to go to the suburbs, but the person who asked her did not show up. Chelsea cried. Suddenly, a narration began. At the end, the narration quoted these two sentences:
“To quote the great sage Jamie Gillis in “Misty Beethoven,”
“This number is the nadir of passion. A splendid time is absolutely not guaranteed for all "
In fact, these two sentences are the core of Soderbergh’s entanglement in the film. A senior call girl has to face her own future, and a country has to face its future. The director uses time and space to disrupt the storytelling. In this story, everything has to bend towards reality—whether it is a known existence or an unknown expectation, it has to bend towards the big and improper reality. In fact, it’s the theme. In other words, I think the film has completed its theme: what the film showed to the audience, I think I received it.
The film is more criticized for his way of telling the story, which is a bit asking for trouble. In fact, for this script, the script does not give each plot paragraph a reasonable destination, and there is almost no internal connection between the paragraphs and the characters. If the task of telling the story is placed on the pair of lovers in the film, the relationship is fragile. It should be even more terrible hypocrisy. So I can approve of the director’s choice of narration. It’s just that due to trade-offs and layout issues, many parts of the actually interesting design are either cut off or ignored by the audience-this kind of ignorance should be caused by The director is responsible for the "misunderstanding" caused by the confusion of the narrative in the first paragraph. After this "misunderstanding" has been generated by the viewer's feeling that they "cannot understand" and "don't know what to say", the audience will have resistance to the characters in the film; they will refuse to actively think; they will reject the film. The information revealed in the details; for a movie like this one, this is fatal.
To say a few more words, in fact, this kind of "misunderstanding" is very important. Good story creators rely on the audience's "misunderstanding" to open the door to the story, and whether it is appropriate or not is often in the slightest. At least it seems that the director is sorry for the audience's IQ, and at most it appears that the director is showing off his IQ. I am also confused about this issue myself, but I think there is actually a contradiction between the way and logic of the story and the way and logic of people observing things. This contradiction is the only position that "misunderstanding" can produce. This position What happened outside should be the unintentional or helpless performance of the playwright, director, and post-workers.
The importance of the script to a movie is self-evident. Soderbergh’s choice of story has always been very admirable. After the "XX Arhat" series, Soderbergh has completed several good movies with acuity. He has a tendency to recover as well as his ability to capture reality. I hope that the collapse of this film will not have any bad influence on him. Some movies have found audiences but lost themselves, and some movies are not recognized by the audience, but it can also exist as another option-from this perspective, I am more pleased with this film.
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