The second varda movie I watched
-Mona as a character is an unknowable symbol of extreme freedom, and as a female tramp is a huge "abnormal". We can only rely on the countless "faces" of the mona captured by people to barely piece together the vague image of this absolute other. But it’s not just mona, everyone is like this, and the images of all supporting actors who look at mona are also broken and unknowable.
-We can only coldly witness the decline and fall of mona's vitality, but maybe only this "cold" perspective can bring us infinitely close to the real mona.
-Many groups of elements that symbolize mona's development from rebirth to depletion: coming from the sea naked-"stuck all over"-stained with purple mud; naked-putting on clothes-jacket and shoes zipper broken-shoes are completely scrapped; mona dominates love- Monna was raped-Mona was abandoned in the relationship and expelled. Of course there is the most obvious change in attitude and mental state
-The scene where the character breaks the fourth wall and reveals his inner feelings to the audience is very moving. In this movie, Varda’s eyes are more cold and objective, but still very gentle: the supporting actors are not just the countless mirrors of mona, but the living people who can’t help but desire hugs or freedom.
-Death is both the beginning and the end in the play, so to some extent Mona's death just makes her embark on a higher journey (just like the millennium actress)
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