The second part of Cocteau's trilogy of poets is undoubtedly the most narrative. The mirror into another space that appeared in the first two chapters of "Blood of the Poet" becomes the protagonist in this film, becoming a bridge connecting the two realms of Yin and Yang.
At first, when the poet Ofi was chatting with his friends outside the coffee shop, the friend showed the poetry of another famous young poet, Chegst, but there was nothing in the book of poems... My friend told him that this is called "nudism"....... Such an absurd label, I think it is Cocteau’s satire on the field of literature and even the field of art. All kinds of inexplicable doctrines are flooded with all kinds of inexplicable In his art, he strives to appear tall on a hollow basis... Then in a chaotic battle, the poet Chegerst was hit to death by two motorcycle riders, and the two motorcycles The rider is the reaper sent by death to the world. The dead Chegst became the assistant of the god of death, and the god of death took him into the mirror and went to the underworld. As an eyewitness, Ofi followed the god of death to the country house and witnessed everything. He fell in love with the beautiful goddess of death while shocked, or in other words, fell in love with death, and the goddess of death fell in love with him. Every night the goddess of death would come to Offie’s bed through the mirror to look at Offie sleeping. At the same time, Offi is obsessed with receiving messages from another world through the radio. The messages are sent by Chegst in the underworld. This is the source of vitality for his great works, that is, the message about death. The secular wife can't understand Offie's spiritual world, and Offie is tired of his wife in every possible way. But the driver of the goddess of death fell in love with Orphee's wife, and the goddess of death caused two motorcyclists to kill Orphee's wife out of jealousy. The driver let Offie wear gloves, and then led Offie into the mirror to find his wife in the underworld. The scene of walking in the underworld is expressive. The driver moves forward easily, while Offie follows confused and laboriously behind. Because he committed suicide and killed Offie's wife, the god of death needed to face the trial of the court, but facing the trial of the judge of the underworld, Offie and the god of death only hugged each other. The driver also expressed his love to the dead Ofi's wife. In the end, just like in Greek mythology, the condition for resurrecting a wife is that you cannot see your wife with your eyes.
After returning to reality, Offi was still in a state of listening to the radio in the car and longing for death, and after his wife could not stand Offie’s indifference and empathy, she took the initiative to let Offie see through the rearview mirror of the car. I... After losing his wife again, Offi was shot and killed by angry Chegst’s friends (because they saw Chegst and Offi in a car accident went to death together ('S car) Offi once again followed the driver to the underworld. They leaned on the dilapidated, mutilated wall, slowly, strenuously, and twisted forward. This scene is similar to the passage in the second chapter of "The Poet's Blood" in the peeping room. In the end, Offie saw the god of death, and they hugged each other happily again, but in the end, god of death violated the law of the underworld and sent Aoffie and his wife back to the world with force. In the process of Offie's return to the world, Gu Keduo used his signature rewind playback, and Offie retreated back to the world a little bit along the way he came. The scene of Offie's last hugging his wife is quite the last demeanor of Dreyer's "Words", the so-called hug after death. The god of death and the driver were taken to the trial court by two underworld policemen...
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