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the Oscar preheating season, the big wave of "seed players" is coming fiercely, "She" nominated for "Best Picture" is slightly bleak. The secret and strong personal style contained in the film almost betrays its American ancestry. Any hustle and bustle will only confuse its own aura. In this aura, there is a low-frequency current that can be heard by a lonely person. What's terrible is that this loneliness is charming, poetic, private, and slightly drunk.
In reality, a middle-aged otaku who is suffering from a marriage crisis has a fierce love with a sound program similar to Siri. Human emotions are "separated" by technology. This is both a fable and a prophecy, enough to arouse a great sigh from sociologists. The graceful and timeless lines have made great contributions. Scarlett, the "stunner", has captured the Roman movie with her voice alone, and her velvety sandy voice has dedicated her most aura of performance in recent years. For Chinese audiences, Shanghai, which is bionic in the future of Los Angeles, is also one of the highlights. The haze of the magic city that has been criticized is like a magical brush, successfully setting off a depressed and cold atmosphere.
Among similar themes, this film is not terrifying. It has a unique temperament that some people cannot resist, because there has never been a film like "She" that regards "human and machine love" as the norm, and no longer confines itself to the subject matter itself. Instead, the aesthetics and exquisiteness are achieved to the extreme. To some extent, "She" is more cool than the story of the resurrected boyfriend in "Black Mirror". Female No.1 is constructed entirely by sound, which highlights the loneliness of human nature. Loneliness is the basic attribute and ultimate belonging of a person, so I want to have an intimate bond with "people". The film jumps out of logic and ethics, and makes bold assumptions about the object of "human". Plato's soul mate only lives in the ears of his lover. He closes his eyes and the world is full of her. The accompanying picture is so beautiful that it hurts. : Stepping into the bustling city like walking on the clouds, life in the backwater pool becomes lush, but the more prosperous the more desolate, the warmer the more bitter. The seemingly absurd scenes make people think about love transparently: to find a carrier for desire, or to enjoy the feedback information projected on oneself through the medium, which endows the magic of love and makes us confused? Roland Barthes deconstructed love and said: "The lover finally erased his love puppet because of his focus on love; through a pure love metamorphosis, the lover fell in love with love, not a love puppet." Falling in love, more Time is the addition of falling in love: being respected, cherished, needed, belonging, and soul fit. Then it becomes very reasonable for the object of love to be generalized.
It is said that the director of the film, Spike Jones, is a person who is often embarrassed in interviews. This sullen character determines the strong personal touch of the film, and the actors can only blend in with the atmosphere (Jacquen Phoenix, who is so superbly played, was not accepted at the Oscars). Theodore, who carries the most personal characteristics of the director, is the ultimate idealist. He prefers that everything be frozen in the best moment, keeping human relationships and emotions relatively static in time and space. Trapped in an independent personality, like a duck in a private space, true love can only be the shadow of a snake. Only by putting aside the substantive worries, can his love be refined.
Such people are as innocent as they are cruel, whether they are to themselves or to others. The most metaphorical passage in the film is that Samantha finds a volunteer for him and turns her body into a relationship. The carrier of desire and the carrier of emotion constitute an ingenious contrast: emotion is a ray of voice in the earphone, and desire is crying in the room. The two things are so divided on the same occasion. In the end, the male protagonist messed up the experiment and failed to separate love from sex.
The reversal of the ending and the sublimation of the theme are indispensable for this kind of "brain-opening" movies. The immortality of Samantha and the limitations of Theodore's birth determine that their minds and views of pattern are not on the same order of magnitude. When Theodore realized that every passerby with a machine might be Samantha's service object, he felt a huge fool, and felt how humble and ridiculous he was, and even staggered and fell.
"Everyone who falls in love is a madman, and love is something that a madman can do. It is a kind of insanity recognized by society." Love is not only a spiritual opium, but also a boring pastime. It is the result of two lone stars in a parallel world. collision. It is true that Samantha is fake, but the enthusiasm, the joy of immersion, the beautified vision, and the feeling of satisfaction are not fake. The evidence that Theodore was reshaped by this love is not fake. If all the feelings that love reflects on people are so true, and what truth we have to demand, why use shortness or eternity as a measure of love?
"She" can easily lead to polarization of the audience's perception. Those who are immune find it boring and lengthy, and those who are obsessed with it can't get rid of it. Compared with the grand opening and the wonderful process, the hasty ending is too whitewashed and peaceful. But some movies are like this. It is not giving, but grabbing. It does not solve problems, but creates problems. As Luc Besson said, movies are not a panacea, but an aspirin. The so-called "warm" and "healing" are really mislabeled. If there is a chance to choose again, I would not go to "She". Because it is like a polygonal prism, allowing people to see countless faces of yourself from countless interfaces, and at the same time your mirror, shield, and sword-the loneliness that can't be seen directly makes people even more unbearable.
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