The male protagonist is very honest with the two women on the surface, telling them that he still loves the other person deeply, and complimenting the other person without hesitation in front of them. But this honesty is actually selfish from the perspective of these two relationships, he never loves them as true independent subjects, but as a docile wife, as a dynamic lover, as an object that satisfies his formula of happiness. "Love" . So he didn't consider the harm that honesty might bring to the other party at all. He is naive, he yearns for happiness, like the sunflower on the cover of the movie, he has an almost instinctive pursuit of happiness. But this pursuit of happiness actually led to his wife's suicide. How ironic. At the end of the film, the lover replaces the dead wife and becomes the new mother of the children, and the children quickly open their arms to her as they once did to their mother. The happiness of life continues. And the male protagonist who once warmly expressed his wife's love, after his wife died, he also embraced his lover like his child. I don't even think this can be considered a new relationship, it's just a filling, the completion of a happy mode. The male protagonist can get this kind of happiness from this toy, and he can also get another kind of happiness from that toy. Although the two toys are different, the satisfaction of happiness is the master from beginning to end. The film does not describe the misfortunes in life, except for the scene where the wife falls into the water and dies. But this sadness is fleeting, and is soon replaced by a new atmosphere of happiness. Morality, thinking, and sadness are suppressed by this flat happiness, and people's most instinctive desires and fundamental blindness are exposed. Reminds me of the Thai film "Homogeneous and Empty Time" I watched earlier. The title of the film also applies to the description of a certain state of happiness. Happiness without pain is empty, happiness without white space is homogeneous.
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