"In ancient mythology, the captivity is active, he is the main party of adultery; in modern mythology, the situation is just the opposite. The robber seems to want nothing and does nothing, he is static, and the robbed guest is just the opposite. The real master of the robbery." "The Servant" is such a story about conquest, robbery and captivity. The first half of "The Servant" is safe and meticulous, and everything is explained clearly. For example, when the master and servant first met, the scenes of the complicated scheduling used a lot of space to describe the props and foreshadowings that will play a huge role in the future: the stairs that symbolize the confrontation of the relationship, the light screen is the floor-to-ceiling window that can peep the privacy, can conceal secrets and reveal the truth The fence...These gadgets were separated one by one in the subsequent storyline, and the atmosphere of this master and servant game was built step by step without hesitation. However, the second half of the film seems to have deviated from the previous track. When the servant and the "sister" are found to have sex with each other, what the servant has is not the embarrassment of the Dongchuang incident, but the arrogant pride. In the confrontation, the master should have been Some even a little bit of anger was completely eliminated and turned into a sense of guilt with nowhere to escape. After that, the master-servant relationship was reversed, and the plot direction was no longer a safe suspense but a dizzy anxiety. Everyone is drunk, and at the same time torturing others to death. The previous "daily" has become a very aggressive stage. Peek-a-boo, sandbag throwing and even sex parties between masters and servants did not use the camera or language to introduce the cause and effect. The camera and the pen and ink only described the involuntary enthusiasm, desire and tremor of the two with great interest. In Bataille’s words, “We also need to talk about the comparison between anxiety and mad laughter. If there is a certain risk factor, we laugh harder because of anxiety, even though we can’t laugh anymore, we still laugh.” The master is exhausted from anxiety, disgust and enjoyment, and the filth, conquest, and aggression possessed by the servants are also dependent on the master’s fascination, depravity, and supplies. As a predator, the servant just wriggles slowly into the master's dependence and disgust, and the subtle attraction between the two will fall apart without any one. In fact, the reason is probably because each other's desire objects can only truly satisfy this desire under one condition: I evoke the same desire as mine in the other party. The object merges with the subject in a similarly anxious tremor: the two desires meet, mix and confuse. It seems that desire is too much. You can’t include it, describe it, or give it some defiant value. However, you can perceive its free-will charm as long as you fake it. The fascinating thing does not involve the mind at all, we always ignore the huge damage within the scope of our tolerance. The serious threat of disharmony automatically puts oneself in a dangerous charm. Therefore, it can be clearly seen that the mind is not as clear as a simpler reaction. The absurd temperament that erupts after the master and servant are turned upside down is the most direct and clear exposure of this unburied desire. Where there is pain, there is desire. The looted person sucks fantasy from it, and while sucking, he constructs his own subject at the same time. It is not clear which things are the causes of which things, but these things are displayed as the result of desire at the same time. The background details of the characters are no longer important. The important thing is that they are all caught in the predicament of plundering, conquering and enjoying.
View more about The Servant reviews
