Well, you and I contribute to it.
1. Introduction
First, eight episodes and eight stories, each in the same space — New York City. In an international metropolis such as New York, which is inclusive of all phenomena, unfolding these vivid and colorful love stories has a representativeness that cannot be taken away. Of course, in the second half of the eighth episode, you will also find that the eight stories also take place in the same timeline, which are not directly related to each other, but happen at the same time, and together weave a symphony of love in a modern city.
The following are episode reviews, covering story, theme, style, lines, and more.
Second, the division
01: When your most important man is a doorman
This is not a love story, but beyond any love story. Although the title of the play is translated as "modern love", in fact, the connotation of "Love" is not just love in a narrow sense. The hotel concierge Guzmin's love and care for the heroine Maggie is definitely not out of lust, but more like a father who is dedicated to a young and helpless little girl who has just entered the big city by a weather-beaten, well-informed elder like warmth.
Guzmin came from a difficult political family, but he is well-informed and has an unparalleled sense of life. People with such a mysterious past stand like a javelin in front of a grand hotel in New York and act as a night watchman in the city. I think of the two housekeepers in the movie "Long Days Are Ending" (or translated as "Leave Traces", "Farewell to the Loved Day") and the British drama "Downton Abbey", they carry a strong atmosphere of old British gentlemen , as if shouldering the splendid afterglow of the entire empire, as if the ancient and glorious era can only come to an end after they are buried in the soil.
Such a character, standing in the dark night of the modern city of New York, has a sense of close conflict, as if the whole New York night is not so frivolous because of this. The old concierge and the big-eyed country girl who just entered the city collided, as if the British wine was mixed with the mint-like fresh aroma, which was an unexpected surprise.
Guzmin's sharp eyes like a scope can always quickly distinguish whether a man is worthy of entrustment, but he never forcibly controls Maggie's actions. He is like a good port with no obstacles throughout the year, always behind you, waiting for you to park and rest. . He knew that young girls always had to go through experiences. Only by tasting the ups and downs of love could they distinguish the sweetness of love. He could not replace Maggie in her own life.
In all of Guzmin's episodes, you feel like he's got a lot of stories hidden in him, and that's probably beyond the reach of young New Yorkers. For example, when Guzmin saw the film of Maggie's baby, the forbearance of emotion contained a deep story. You can imagine Guzmin maybe a man who never married and therefore never had children, because his own ordeal deprived him of such an opportunity, then his fatherly love for Maggie and his forbearance while watching the film The silence is explained.
This episode has very good lines, and there are at least two places that I think should be included in the classic lines memo, which can be included as a reference next time an organization like the American Film Institute selects an event like "One Hundred Lines of Lines in 100 Years".
When Guzmin carefully carried the baby in the cradle into the hotel on the side of the road, a harsh whistle whistled past, Guzmin was annoyed but controlled the volume and said the following words: "Oh, shh New York, shut up!"
Maggie left New York and went to Los Angeles on the other side of the country. Five years later, she brought her new boyfriend to visit Guzmin, who unexpectedly passed Guzmin's sharp eyes. Just when Maggie was surprised, Guzmin told her the criteria for judging those men: "I never look at those men, Maggie, I look at your eyes."
This is my unquestionably favorite of the eight episodes, directed and written by John Carney, who also directed and wrote the classic musical and romance film Once. But as an extra note, these eight stories are all based on The New York Times' "Modern Love" column.
02: When Cupid was an inquisitive reporter
This episode is still written and directed by John Carney, and the whole story can be divided into two parts.
The first part is about the love memories of a popular dating site founder Josh who was interviewed by an elderly female reporter. As Cupid of thousands, he himself has a sad affair. A few years ago, he met and fell in love with a girl named Emma. Half a year later, Emma met his old love, and his head was hot and his passion was rekindled. Although she was very guilty and explained that it was him who really loved her, Josh. There is no choice to forgive her. Two years later, Josh meets Emma on the street, and he discovers that he still loves her, but by this time she's engaged.
The first part is just an appetizer, after that the memories of the female reporter are the focus of the whole story. It turned out that the female reporter had a more tragic love story.
In a foreign country, a young female reporter and a literary student studying Shakespeare meet in Paris, a romantic and legendary beginning. Once, the two agreed to meet in Paris, but the man didn't show up, and they haven't heard from them since. Seventeen years later, at a London book signing, a female reporter met the boy he had always dreamed of - now old, but the two recognized each other at a glance (the elements of missing the appointment and the bookstore reunion are reminiscent of " love before sunset).
It turns out that the boy lost the "Anna Karenina" (Leo Tolstoy's love novel, which of course also represents a longer state of love in the play), which she gave him on the train. token), with her address and contact information in it. For this reason, a man will never be able to read the book "Anna Karenina" any longer.
What's interesting is that after the two reunited and separated, they returned home and faced their current partners and made different decisions. The man decides to be kind to his wife who has been wronged for many years; the woman decides to break off the marriage that has no love with her husband-obviously, she prefers to live in love with the boy of the year.
Story exchange is over. The two shook hands, hugged, smiled slightly awkwardly, waved goodbye, and turned to drown in the vista of the city. However, we know that one thing is not submerged, but clearer.
The final ending was very satisfactory. The female reporter made her own decision and published Josh’s story. After reading it, her ex-girlfriend Emma knew what the other party thought about her. She resolutely broke up with her current boyfriend. Josh and Emma reunited. reconciled.
The story of the female reporter is actually an exhortation and prayer for young couples, a model of pre-modern love to contemporary urban love. A voice that clearly traveled through time said above his head: "Treasure, young people!"
The theme expressed in the second episode is "cherishing".
This episode also has excellent lines.
A sentence from the dialogue between the young hero and heroine when they broke up. Josh condemned Emma who confessed his mistake: "That's not love, that's guilt, and love is trust." Emma defended helplessly: "Love includes many elements."
Another line from a female reporter: "The love we once had, unfinished, lost without trial, is so rash and childish to those who choose to settle down. But in fact, this is the purest , the most devoted love."
03: Accept who I am, whoever I am
When I first saw the title of this episode, I thought it was for my lover, now I realize it was for myself.
This is the story of a patient with bipolar disorder (bipolar disorder). From the name of the disease, it can be seen that the patient is in two extreme moods, sometimes falling into mania, sometimes falling into depression.
The narrative unfolds as the heroine recalls while she was filling out a profile on a dating website.
The story begins in the morning. The heroine is in extreme excitement, as if the whole world is waiting for her to explore, so she goes to the early morning supermarket, where she meets a man she likes, and falls in love with urgency. took him. Here's an excellent line where the heroine says: "If you can find love in the supermarket in the morning, you know you can trust it, because no one's here for glamour, no one's here to fish or find one-night stands. ."
The first date between the two was one night. At this time, the heroine entered another extreme state, her spirit was extremely low, and she couldn't get up to anything. The male protagonist doesn't know why, but he is gentle and considerate, respects her intentions, and accompanies her to do what she wants to do. But when the male protagonist asked her, she didn't tell the truth.
The second date was on another night. At first, the hostess spent a whole day packing and dressing up, and her mood switched to a super excited state. The problem arose again when night fell, when Rita Hayworth, who played the charming female character Gilda in the old movie "Gilda", appeared on the screen, and the heroine slowly sank again because she thought of the sea. Wentz's famous quote: "Everyone I meet falls in love with Gilda, but wakes up with me." Gilda's bright screen character corresponds to the heroine who wears a sequined shirt and goes to the supermarket. And the depressed heroine corresponds to the real Rita Hayworth who said that sentence - also a sad and frustrated soul in love.
The hostess can't do it anymore, and even loses the strength to get up and answer the door. The man is completely confused about this, thinking that the heroine has no intention of him, and is just perfunctory. Since the heroine did not tell him the fact that she was ill, the two missed each other like this.
There are two good lines in this episode, the first is: "This is a man who doesn't want his peaches to be bruised, what would he do with a wounded soul?" But the next line is more for excellent.
The female protagonist was lying on the bed crying helplessly, and the male protagonist was hesitating to turn around and find her again, when the scene's lines appeared, which were the female protagonist's inner voice: "Please come back, don't come back. Please come back, Don't come back. Please... come back." The woman's struggling but powerless murmurs echoed the man's hesitant and repeated movements, but in the end, he left.
In the end, the heroine opened her heart under the guidance of her friends, and revealed her true self to everyone who was inexplicably hurt by her, and then she wrote these experiences in the personal profile of the dating website, waiting for Happiness comes again.
So this story is about being true to yourself when looking for and facing love.
In fact, no matter whether you have bipolar disorder or not, in the final analysis, people are multifaceted, and there are advantages and disadvantages. The form presents this gap in everyone more clearly. Gilda is beautiful, but we also need to accept Hayworth in real life. The most important point is that acceptance cannot depend on others alone. The first person to accept yourself must be yourself.
This episode features staged action design and a dramatic narrative approach. Whether it's a supermarket or a parking lot, shopping or staying at home, the heroine dances whenever she wants to, but it fits the plot very well, so she dances in no way. The scene in which the male protagonist is wandering outside the door and the female protagonist is in a monologue on the bed combines the psychology of the characters with the elements of action and sound, which is amazing.
04: You come and go, let the game continue
The soundtrack at the beginning of the episode creates an annoying humorous effect, and the soundtrack and the state of the two protagonists are in harmony, reminiscent of the trumpet (if correct) in Tanya Tsai's "Don't Trouble Me".
This is a story about the itch of marriage. The couple is about to enter old age, and the conflict that has been lurking for many years finally broke out. The situation is like this: the wife is a housewife who has sacrificed for her celebrity husband. The husband and wife are in love with each other, but they lack communication for many years and have no common hobbies. She was very disappointed and lost, and finally couldn't hold on any longer. The two went to the point of seeing a psychiatrist. As a result, they either kept bickering or kept silent in the psychiatric clinic.
It seems that if this continues, there is only one road ahead for them, just like many couples who have come this way. It's just that many people have chosen to live in the future, not divorced, but they know each other that love no longer exists.
The difference between the old couple in the play is that they still love each other. They eventually reconciled, found a rhythm with each other — after they had an embarrassing fight in front of a female fan at a family dinner — and got through it.
Sharon Horgan is in charge of the story, and it's a little underwhelming. What I want to say is: husband and wife are birds of the same forest, and disaster is imminent... Might as well try harder. Of course, the premise of all this is that they still love each other. As long as the two are in love, they will be able to find a double rhythm that suits each other. Isn't love sometimes like a pas de deux? ——What is needed is that you come and go and make up for each other. In the play, the husband and wife go from being obsessed with the rules of tennis to playing naturally at the end, which is exactly what it means.
05: In the hospital, an episode of awakening
This is a story of contrasts. At first you thought it was a date, but then you found out it was a date; at first the date was in an apartment, but later it was moved to a hospital; at first it was a hilarious burlesque, and then it became a warm life-flow movie.
In short, this is a weird and romantic love story of an anxiety man and a narcissist. The story begins with a light comedy approach. The male protagonist Rob and the female protagonist Yasmin are busy dating in the apartment. The relationship between the two quickly warms up. When they are trying to go further, the dull Rob hurts himself. So he had to go to the hospital, and Yasmin, who had just met Rob, accompanied Rob through this tragic night.
In the process, the two got closer and closer, but their own weaknesses were gradually revealed.
Rob always lived in anxiety. He would struggle with the sitting position when he was waiting for others. Although he was only wearing underwear, he still twisted around on the sofa, looking in the mirror to find his best posture (naked state). On the way to the hospital, he lied like a barrage of lies, lying about his age and the number of appointments, but he didn't mean to do it, and these lies were foolish things that couldn't deceive anyone. He is afraid that others will see his weaknesses, so he has difficulty socializing.
Yasmin's narcissism is also poisonous. She used to wink at the opposite sex on the two-way elevator in the subway, eager for everyone to pay attention to her and fall in love with her. He also displays his life on the Internet at any time to win the likes of others, just like us in the Internet age. And she is very difficult to be satisfied. When she feels that others are not obsessed with her enough, she will be lost. This also brought a lot of psychological burden to her, because she always wanted to show her best self, and there was part of the reason why she stayed to take care of Abel. Because of this weakness, it is difficult for her to fall in love for a long time, and she is always in constant dating.
Comparing the weaknesses of the two, you will find that their problems are actually the same in nature.
It seems that the theme of this story overlaps with the third episode, but the third story focuses on accepting yourself bravely. This story focuses on dealing with the outside world rationally. The best state is to let everything happen naturally. It's so natural that you can even stop talking, just feel it with your heart, just like the scene where Yasmin lay on Rob's lap and fell asleep peacefully. Therefore, in the end, the two gradually opened their hearts and began to get along naturally.
This episode is one of the most lively, directed by Tom Hall, which seems to be a rookie director.
06: He looks like Dad, so it's just dinner, right?
The first scene of the opening scene is that the 21-year-old heroine Mandy attends his girlfriend's private birthday party. His girlfriend's father is doting on his daughter in every possible way. However, the camera is facing Mandy. She looks at the speaker intently, which makes us Mistakenly thought that it was her father who said this, until the camera slowly turned and we saw the other people present and the whole spatial pattern, we realized that we had been fooled. It's a cleverly misleading shot made with elements of space and sound.
But this scene laid the psychological premise of the heroine's inner desire for fatherly love. However, this may be another thematically misleading.
The logic of the story is this, because Mandy's father's love is missing, so she can't help but fall in love with her boss, but this is not real love, just the girl's desire for father's love. Therefore, when the old uncle kissed her emotionally, she would express such great disgust.
But is that the truth? This is probably just the girl's own inner logic. Although she is always rebellious and fooling around, she has never been in a real relationship, so I am afraid she can't tell what it feels like to be in love.
There are indeed a lot of details that Mandy is looking for a fatherly dependence in the old uncle. But from some details, it can be found that she also has a strange feeling for the old uncle. Between dinners at the old uncle's house, she walked into the bathroom and said to the mirror, "Go home after dessert and relax." This shows that she herself knew that this was a date and that she knew what she was facing. , but she let things go.
When the old uncle leaned over to kiss her, her reaction was actually too violent. It was not so much the collapse of her father figure that she fell into a breakdown, but her stubborn denial of her inner feelings. It was more like she was convincing herself: "This is not love, this is just love between father and daughter." And her reason for denying this relationship was untenable-the reason was that the other party was decades older than her. . Wouldn't it be love if you were a few decades older? There is no need to think too much about this issue in modern society.
There is another perspective to this story, that is, from the point of view of the old man. When he looked out from the window, we saw a heartbroken image, but the passage of time on him made his love and pain silent and forbearance. This old man, for the sake of his love, broke through the norm and fell in love with a young girl whose mind was not yet mature. This was a dangerous thing, but he did not back down, but obeyed the call of his heart. Now that he is injured, he is clearly more sad than a young man's lovelorn.
In the scene of the last interview between the two, the young girl was surprised by his bowing and weeping, so there was a classic dialogue.
"Are you crying? Aren't you (adult?)...Isn't crying something young people do?"
"Why can't I cry? Why can't I be emotional about it? Just because I'm old?"
This dialogue has justified the love of older people. Love is not divided into young and old. Young people have emotions and confusion, and older people also have them. Some people may die with a so-called teenager. heart of. In fact, it is not directly related to age. It is what kind of heart it is. Therefore, there are many people in young people who despise love and do not understand love; there are many people in old people who cherish love and understand love. It's not about age, it's about everyone being different. Little bastard and old lover, without a doubt, I choose old lover.
Love transcends age and that is the theme of this story. The old uncle's relationship with Mandy made her not only gain father's love, but more importantly, she was brought into the door of love and began to understand what love is. This is a one-on-one offline real-life love class!
As an elder, the old uncle said parting words to Mandy (that was the fatherly approval that Mandy wanted most before) and left alone. Watching his retreating back, Mandy realized that something had changed in her heart, and she also realized that she had grown up, so she shouted: "Wait!" The image stopped abruptly.
At this point, there is no doubt that this is definitely starting to become a love story, no matter how it ends.
07: She herself is a world
The seventh story is closer to new real problems, trying to find new answers. It seems so. In fact, this story traces a topic older than all other stories, and it directly inquires about human origins and human nature itself. The orangutan is a spatial reference, a species parallel to ours, as the second story exemplifies. But in this episode, the orangutan is also a time reference that hints at the human past.
Are the interspersed orangutan documentaries just comedy? More than that, it is foreshadowing and implying a proposition: what is human nature?
We speak slowly. What is nature, boils down to human society, this question can be asked like this: Are we born with father and mother love? Are we born city settlers? Can our world accommodate others?
Then let's take a closer look. In fact, the creator (John Carney) has stated this proposition bit by bit from the beginning. A gay couple - Tobin and Andy are at home. Andy watched a documentary about an orangutan giving birth in the living room, and was moved by his motherhood. And what about Tobin? He showed no interest in raising offspring. This detail shows that whether human beings are born with parental love, the answer is uncertain.
But since Andy was eager to raise a child, they went down the road of adoption. They were then referred to Carla, an unusually pregnant mother.
Kara is a wanderer, but obviously it needs special explanation here. She is not forced to live on the streets, but she is a migrant (perhaps a traveler in modern society).
She said a lot of relevant details, saying that the child's father was a nice guy you met on the street, but they weren't a good fit because the other guy was someone who wanted to settle down, and she wasn't. She said staying in the house gave her a phobia attack, and she saw the house, car and mobile phone as a trap set by humans. She yearns for a life on the road, and talking about traveling from one city to another will make her eyes light up and her spirits refreshed. Basically, she is a person against modern life, she seems to embody a human atavism, because many scientific studies show that humans were not settlers in the beginning.
Traveling is like experiencing the plants and trees of the world in person, which is similar to ancient humans, which is fundamentally different from modern humans who browse the world on the screen. This is the spiritual motivation of Kara's travel, but she can't explain why she thinks this way, maybe it shows that human beings have the nature of migration in their genes. Many of her postures, such as scratching her ears and shrinking her neck, may also be intentional gestures (although it may just be because she hasn't bathed).
She saw that Tobin and Andy were good parents, and she simply agreed to hand over her child to them for upbringing, regardless of legal procedures or paperwork. It seems that she has no aspirations for raising offspring. But is it really so? There is no rush to anchor an absolute answer. But an interesting detail is that Carla has a dog and is very caring for that dog.
Then the perspective turns to the world of Tobin and Andy. We can see that Tobin is still hesitant about adopting a child. As shown at the beginning, he has no urge to be a parent. He agrees to adopt a child. For Andy's wish. But an interesting detail is that they also have a dog, and Tobin, who doesn't want to be a father, is very enthusiastic about picking up dog poop.
So realize that the appearance of these two dogs is not just a random decoration.
The plot afterward is that Carla is eight weeks away from her due date, and she rightfully moves into the two male protagonists' homes. Tobin was disgusted by this, and he obviously did not want his and Andy's two-person world to be intruded.
Then, something funny happened to the current human being in general. Tobin's puppy was made pregnant by Carla's big dog. Tobin's attitude was to abort the puppy. This plot also shows that Tobin is not really ready for a new baby to come into his world.
What made Tobin even more unpleasant soon after, Carla brought the men from the street into the house, Tobin lost control of his emotions and had a big argument with Carla.
He vented his dissatisfaction, and Cara knew that Tobin agreed with her to live, tolerating her, not accepting her. Tobin couldn't get used to the intrusion of people other than Andy into his life. Cara ripped apart Tobin's artificial self-defense (many people in modern society are like this), and she rebuked Tobin for not caring about the exception other people than yourself.
But in turn, Tobin stabbed Carla hard, slamming Carla, who is also out of touch with people, living in her own world, and can't even raise her own children.
At this time, we saw a proposition jointly constructed by Tobin and Kara: Can our world accommodate other people?
Do we really want other people to exist in our world? Are we born selfish? Do we really care about others? Are we really eager to be parents and raise children? Are we doomed to be alone? - These are all questions that can be further extended.
Perhaps you already feel a little self-doubting pessimism when you question yourself. But we might as well look for possible answers in the play. Both Carla and Tobin seem to be in their own world, so does that mean they can't accommodate others? OK, in addition to the details about raising dogs, there are more details that contradict their appearance.
According to the details of the mashup in episode 8, Kara was hesitant before walking into Tobin's house, she was worried that Tobin and Andy would not be able to give their children long-term care; she saw a group of children in the park performing arts and crafts , but gave a close-up shot pushed to her face, and Kara was moved. Don't these details show that Carla is actually maternal?
And Tobin is so gentle with people in his life. After Kara was stabbed by him and ran away, Tobin regretted it in an instant and looked for her very anxiously. Doesn't this show that Tobin really cares about Cara?
In the play in the hospital that followed, the joy and emotion of Tobin and Cara when they faced the birth of a new life completely overturned the image of isolation and self that they had left behind.
do you know? In the final analysis, those abstract concepts are sometimes misleading. They do not define us human beings at all, because human beings are living, flesh-and-blood existences. We live in the countless details of the microscopic world. In the moments when people meet countless times, we live in the countless exchanges between you and me. Humans are not one-way, one-way, we are multi-faceted, interactive, and radiating infinite possibilities. How can we be closed and selfish? How can we be arbitrarily open? It's not us, it's us. Because we are human beings, indefinable human beings!
Tobin and Carla, two human beings who are very different in every way, can both reach reconciliation, understand each other, recognize each other, accept each other, and become good friends, then the answers and wishes given by this story are already very good. Clear. No matter how different we are - like Carla and Tobin - one of them is primitive and the other is modern - we can accommodate each other.
08: The closer to the finish line, the sweeter the marathon becomes
The eighth story is about a relationship at dusk and how an elderly person faces the rest of their life after losing a partner.
The old lady looks listless at the beginning of the story, because she has just lost a lover and she is going to attend a memorial service.
The interspersed narrative unfolds this relationship slowly, very simple, very pure, and very stable.
The two old people met when they were running a marathon. The old man lost his wife six years ago and lost his marriage for 36 years and the person he loved most. And the old man's health is not very good, and it is not unusual to fall to the last place in the marathon. But the old lady fell in love with the old man, and was willing to slow down her pace and adapt to his rhythm, which gradually opened the old man's heart, and the two slowly walked together.
Later, the old man passed away, and the old lady still didn't know how she would spend it.
In this story, marathon is a metaphor for life. Life is like a marathon. Some people may only meet running partners when they are old. After losing his partner, he found that there is still a long runway to conquer by himself. How to do it?
Standing at one end of the road and looking at the other end of the road, the old lady knew the answer, a smile appeared on her face, she slowly took a step forward, and continued to run after the previous mileage, with nostalgia for the deceased. Because of that person, he will be waiting for you at the end.
The story is so short that it feels undeveloped, and you don't have to like it. But I think the concept behind the story is important because these eight stories are one, they are different movements of a suite that together respond to the big proposition of "love".
In the second half of this episode, through an afternoon rainstorm, the protagonists of the eight stories are connected in the same time line using the language of the lens, and the colorful love and affection of the city of New York are exhibited in a nostalgic panorama. At this time, we suddenly dreamed and moved like watching a big movie. At this time, we still can't think of what sentence these eight stories in prose style are going to say?
—Love, makes up New York (the city).
Believe it, when you walk down the street, countless good things are happening.
Three, in general
Judging from the title of the play, it is about love and affection in modern society. I can't express my feelings on behalf of others, I can only say that I feel that many modern people feel lost about love.
When you turn on the news, the hot spots you see are: Which celebrity couple has been in love for many years but is tearing up *separate property, a certain male star's good man character collapse was exposed to be derailed, and who and the artist's private life is chaotic and can be called a scumbag. Sexual assault, rape, affair, foster care, unspoken rules, blind date, marriage promotion, machismo, gender hatred, homophobia, many negative energies are rolling in like an endless wave.
More deadly, the evolution of private inner love values. You realize that the self-denial that you had when you were naive now seems like the closest thing to love. You may be scarred every time you fall in love, and you have nowhere to go. You think it's so hard to meet someone who likes each other and has the same heart. You find yourself seeming to have lost the feeling of love, the ability to love, and fallen into complete self-doubt.
It seems, then, that modern love feels worse and worse.
So is that so? No, these are still too one-sided after all, true love will never be absent in any era, so these eight very ordinary but classic contemporary emotional paradigms appear in front of you and me, they cover the difference of love Facing, give all people the courage and hope of love, and tell us that modern emotions can also be like this!
Finally, I want to talk about a few words about the inner character of this show. Perhaps you will notice that these stories are mixed with some old elements that seem to be from a bygone time.
Episode 1: The hotel concierge in a British aristocratic mansion; Episode 2: The female reporter missed 17 years of love in the pre-communication era; Episode 3: The bipolar heroine doesn't go to tinder and the old-fashioned dating site; Episode 6 is silent. The old and young love; the atavistic phenomenon of the traveler Kara in the seventh episode; the twilight love in the twilight of life in the eighth episode.
so--
Is this show just about modern love? This is clearly the admiration, fascination and prayer for the old style of loving only one person in one's life, which can be regarded as a lingering, commemorating and engraving of the past feelings of reminiscence.
Is this just love? This is clearly a broader LOVE, love is all-encompassing and endless.
What should modern love look like? Should it be like what we see, know, and feel one-sidedly? There are clearly precious specimens left here, telling us that modern love has a richer and more diverse level and appearance.
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