The label of this film is "comedy", but in my opinion, the whole film is full of life's difficulties and misery.
"Caramel" is an appropriate, sweet "sugar". After being tortured, the sweetness is full of bitterness.
The story revolves around one of the most common beauty salons in Lebanon, telling about six different women with their unique life experiences.
The three words "beauty salon" are filled with powdery air. It is undoubtedly a place exclusively for women. I don't know how many fragrant pasts and women's thoughts are implied in it.
If handed over to a male director, these love scenes will surely be more organized and "program".
However, the film is directed by a woman. The tactful thoughts of the woman's family, and the speechlessness of the woman's family, are all shown in a roundabout way under the camera.
She broke away from the traditional form of expression, and also from the inherent formula, making this female drama hazy and invisible.
One of the passages is great. Non-women can’t appreciate the situation: the half-aged milf Jammel can’t accept the fact that she is old. She goes to the beauty salon every day, puts on heavy makeup, and participates in various auditions. She was embarrassed among the girls. Later, when she was menopausal, she put pigeon blood on her skirt to fake an illusion of her own menstruation. When a young girl kindly reminded her that her skirt was dirty, she seemed embarrassed and slightly embarrassed. Asked proudly: "Ah, who brought sanitary napkins?" Even at Nisri's wedding, she said that she was uncomfortable and wanted to go to the toilet. In fact, she just dyed red tissues and sanitary napkins with pigeon blood in the toilet. Throw it in the trash basket, creating an illusion of menstruation.
The male audience must think that all these actions are unreasonable and inexplicable. She arranged all this so hard, who can she deceive? Even if you lie to others, what's so great about coming menstruation?
She is not lying to anyone, she is lying to herself. Menopause is undoubtedly a big event for a woman. You can go to beauty salons, do maintenance, and put on heavy makeup to conceal the aging on your face, and you can use all the illusions of rouge to trick yourself into being young, but physical aging will not lie. Jammel was an actor when she was young. Although the director did not use half of the shot to describe her appearance when she was young, I can imagine how she was gorgeous, charming and full of the pride of young people. But now she But in a way that others can't understand, to retain the lost youth.
A male director will not shoot such a passage, only a woman understands this kind of thoughts that can't make it to the stage.
Feminine attitude, femininity, and femininity all come from the mouth of a woman, resentful and admired, and charming. This is exactly what some viewers disdain or disdain. In this film, there is no “magnificent, profound, bold and unrestrained” that is all “chaotic, obscure, and lingering”. In the final analysis, it is just a matter of women's love.
However, we might as well understand that this is a land of free lyricism. Here, eros need not be concealed, and secluded feelings can be appreciated.
The love that has nowhere to vent in real life can be taken care of by such a female drama.
Love is a kind of living beauty.
The ultimate in life is nothing more than a "love".
And in the deepest part of love, there is only one "sorrow".
Among these six women, one fell in love with a married man, one broke up before marriage, one was gay, one was playing twilight love, and one with dementia was thinking of the old lover. Among them, there is no lack of splendid lovers. Pretty women, but because they are too marginal, they cannot fit into the traditional ethical framework.
Rayali is deeply in love with a man. He waits for his call every night. When he gets there, he hides in the bed and hides in the toilet and talks to him in a low voice. When he doesn’t wait, he is dim and disturbed by himself, on his birthday. , She made all her affection into a cake, rented a hotel, spent a day cleaning, and then waited for him wholeheartedly. In the end he didn't come because he wanted to go home to accompany his wife.
Nisri is undoubtedly the happiest among these women. She found Ruyi Langjun, and the other side's conservative family also accepted her. However, when the wedding was just around the corner, she also had troubles—"My first time was not given to my prince", so she decided to go to the hospital for a hymen repair operation.
Rema, who works in a beauty salon, has a very personal dress. She will sneak peek at the beauties on the bus, but ignore the men who show her courtesy, because Rema is a lesbian. She likes a beautiful woman who often comes to the beauty salon to wash her hair. The woman has beautiful long hair. Rema is responsible for washing her hair every time, and the ambiguity between the two women is hidden in this back and forth touch and care.
Lily is a crazy old woman who wanders the streets every day, picking up waste paper and trash. Her love is not in front of her eyes, but hidden in memory, hidden in the waste paper she picked up from the street. Those waste papers, in Lily's eyes, of course they are not waste papers. They are love letters from her beloved lover.
Rose, Lily's younger sister, is also very old, and her skin is so loose that no cosmetics can save her. But she fell in love with a handsome old man. For him, she went into the beauty salon and dyed her red hair, carefully "applied yellow on the mirror". But in the end, in order to take care of her older sister with dementia, she refused this late love.
Several sorrows and joys, just like the title "Caramel", are sweet and bitter.
The entrance of caramel is lingering and sticky, sweet and bitter for a while; the same is true for the word "love", chewing carefully, it is sweet, but bitter.
The director does not intend to talk about social issues in Lebanon, nor does he intend to discuss traditional women or new-style women, although many details have revealed to us that this is not an open society-it is ill of men and women to sit in a car after nightfall. Women cannot have sex before marriage.
However, the love that the director mainly wants to express can exist without the unique background of Lebanon. Extramarital love, twilight love, and homosexuality. These marginal loves can happen in any background and at any time. The bitterness in it does not necessarily have to be based on the Muslim society, but anyone who is deeply affectionate can appreciate the sweetness and sorrow like caramel.
As the protagonist of love-women, they are obsessed with love, but they are often not appreciated; they pursue love, but often cannot ask for it.
But how worthy of love is a woman, how worthy of being loved. Whether it's Layari who has extramarital affairs, Rose who is lonely and old, or Rima who is gay, or Lily who is crazy, there is no kind of woman who is not worthy of love and be loved.
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