I watched this film with ups and downs, very very interesting!
First of all, it is very interesting from the perspective of character setting: one is a lecturer at Christ College, and the other is a circus acrobat. Aside from them, only in terms of these two identities, it is already extremely contradictory. The irresistible ethical shackles of a theologian like Christ College, and the free, wandering, gypsy-like life of the acrobats—especially in the film, which gives me a certain medieval mystique.
It should be said that this film is very different from what I originally imagined. I thought it was going to be that peaceful, beautiful, slow-moving kind of atmosphere that a lot of these films try to create. But from the very beginning of its soundtrack, you can feel the undulating and turbulent emotions of the cello and violin.
Speaking of the soundtrack, I have to say it's fantastic. It expresses all kinds of emotions vividly, like another narration that is not told in words, like blending directly in the wine poured into your heart brewed in this movie.
Not only can you enter their hearts, but also exciting and intoxicating.
Also, as mentioned before, the mystery, when Petra appears under Camille's window, in that way, in that way, is like a Peter Pan-like ranger. And when she's sitting in a tree peeking at Camille, or disappearing from her room, she's a genie. So much so that when Camille fantasized about Petra appearing behind her, I almost thought it was real and didn't care whether it was a possibility.
This mysterious rendering is also reflected in the picture. What is particularly impressive is the movement of light and shadow to explain the time when Petra is waiting under the camille window. The window and the tree are very intuitive, but very dreamy.
As for the story itself, it's as cunning as a complete conspirator, but kinder than an angel.
In the laundromat, in the RV, in the priest's visit, the awkward atmosphere, that sly or smug smile that Petra has, the conspirator! When she was secretly planning
but Camille's cramped request to take back her clothes and leave, and when she explained to the priest with a ridiculous reason, Petra's depression and absent-mindedness were so innocent.
I think the whole movie is filled with all kinds of metaphors, soaring in the sky, having sex against the backdrop of the combined performance of two acrobats high above, the dog that comes back to life (or it wasn't dead in the first place). Maybe it shouldn't be called a metaphor, but it should be said that the director is very clever to express these things in a variety of ways, so that every scene and word that appears (for example, to the end of the flower, the part without "gun", Of course, maybe I think too much (hehe) has its meaning.
It is also worth mentioning that this film involves the issue of God. Whether homosexuality is tolerated by God, I'm not sure the movie gives it an attitude, but at the end we see that Bob is alive. Perhaps as the pastor inside said, all we can do at this time is pray.
Pray for blessings, or for forgiveness.
Oh, and one more thing, Martin's presence, when he found himself a woman. . . Subsequent outbursts of repression and how he handled it, including what he said in reference to the passage.
There is probably nothing sadder than a man who is a theologian to find out that his woman has been seduced by another woman,
but he also raises another question that interests me more: does telling the truth suffice to represent candor rather than selfishness ?
This is a film that echoes the beginning and the end, once again giving us a wonderful possibility. Of course Camille turned her back on a lot, but I believe she still believes in God too.
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