People's tragic situation and hopeless life cannot be solved by external forces. In the play, the protagonist tries to break free from the shackles of his original life, completely break with everything in the past, and seek the hope of a new life, but eventually falls into the despair of reincarnation. Under the surface of life as dark and gloomy as the tone of the film, there is a long-term numbness of emotion and indifference of lack of communication. Just like the empty shot of the snow-covered land at the beginning of the film, it is extremely depressing, indicating that what has been frozen for a long time in the film is the human heart, the flow of emotions that people understand and care about. And the only thing that can truly rescue people who have fallen into hopelessness is the awakening of the soul and the power of inner love.
In the film, the protagonist obviously did not. The death of his son did not awaken the numb souls of the two. His wife, Zhenya, was in constant pain in the face of the corpse, but she always refused to admit that the corpse was her son, while her husband, Boris, let his wife beat and scold him. The expression, squatting on the corner of the wall with his head in his arms sadly, the details of this action are very symbolic. He has surrendered to life and is powerless to resist, he has given up his struggle and hope for life.
Finally, the two have a new family and start a new life. Boris had a child, his wife and mother-in-law were discussing a bigger house, the noisy son was chaotic and noisy with the TV news, Boris angrily picked up his son and threw it into the nursery car, and the son cried. He returned to the mediocre life of chai, rice, oil, salt, sauce, vinegar, and tea. But Zhenya still looked down at her phone, her husband next to her was watching TV, the single camera cut the two people apart, and the two sitting on the sofa were separated by a distance. Finally, Zhenya got up and walked to the treadmill outside the window, and the camera followed In the past, Che Zhenya was running with the front and centering the camera, pushing forward, pushing to close-up. Zhenya, who was running in a daze, was like a violent self, pushing herself forward forcefully and continuously, but she still could not find relief and moved forward in confusion. Life.
The end of the film is symbolic. The photo of the son has faded and turned white on the telephone pole due to the grinding of time. The wind and snow are whistling. The camera cuts to the tree that the son threw the streamer at the beginning, and the camera slowly moves up. In the wind and snow, the color fades. The streamers are flying. This streamer symbolizes the son, who has faded from the world's vision over time and forgotten in the hearts of the indifferent parents. At the beginning of the film, the son threw the streamer up, symbolizing the son's struggle against indifference when he ran away from home. And when the son is looking up, the streamer that is shooting up is drooping. These two extreme angles are cut to each other, like the rope of death strangling his neck. He is a foreshadowing of the fate of his son.
Son Alyosha was the victim of this indifferent family. What the film really wants to express is the endless reincarnation under the chains of indifference. Zhenya's relationship with her mother, Zhenya and her husband's attitude towards her son, and her husband's attitude towards his younger son after remarriage. The purpose is to show that if there is no vigilance, tragedies will still happen. The death of Alyosha did not wake up the long-numbed couple, but the director hoped to wake up the audience. The streamer swaying in the wind and snow was the low voice of Alyosha's undead.
In the play, the heroine Jin-A decides to divorce her husband, and she already has a new lover, and at this time her husband also has his new girlfriend and is pregnant. When both of them were breaking out of their original hardships and dark lives and found new sustenance at the same time, the son at this time completely ignored them. At the party, the son quarreled loudly while he was sleeping, and the mother who closed the door after going to the bathroom did not find her son who was hiding behind the door crying in the dark. They never cared about his son's attitude towards the divorce, nor did they notice his son during dinner. The tears left, until the son was lost, was also after the two of them searched for a partner to have sex, and found that the son was missing, and it was two days after the son was lost. The indifference to their son reflects the psychological state of the two at this time. They still lack love for each other and love for their children. They are more selfish, especially what Zhenya said to the barber shop staff. It means that the husband is not worried about his son for divorce, but about his own work. And vice versa, isn't Zhenya also trying to get out of her own misery?
The prominent expression of the action of making love, and it is expressed in the scene where the husband and wife are separated from their lover, or in the two scenes before the son's loss, has a unique role and meaning. Making love, that is, sex, is a kind of natural desire, which Freud put forward, the natural instinct, that is, sex. It is a thirst for life, for being alive, for hope. Sex is like a life-saving straw for two people. The hormones stimulated by sex become an anesthetic for the hope of their lives. It seems that they have found a new direction when immersed in it, but it is only a kind of psychedelic. , leaving behind is still the pain of suffering.
So, immediately after the loss of the son, the two were pulled back from the hope and the illusion of happiness back to the cruel reality.
The detail of pregnancy is a reflection of her husband Boris' attitude towards life and character. Boris is an incapacitated person. He does not have power, but is irresponsible and ignorant. Zhenya was pregnant with Boris in her early years and married in her promised honey words, thus falling into endless pain and remorse. At this time, Boris once again made his girlfriend pregnant, and once again used commitment to express his love. The end result is that Boris is once again caught up in a dull life. He is weak, and he can only rely on the woman's comfort to find sustenance. As Jin-ah said, he asked for marriage. But he didn't really have the strength to take on life and suffering.
Mobile phones, computers, and boring TV programs are semantic symbols of interpersonal indifference, especially the early image of Zhenya, who is playing with mobile phones every time he appears, and Boris first appeared to see the details of Zhenya’s mobile phone, and the mobile phone changed. Having a password is a manifestation of isolation from communication. In a scene where her son was eating, Zhenya faced her son but played with her mobile phone with her head down. The son was so sad that she couldn't swallow, but she turned a blind eye. After the scene, the son left. In the end, Zhenya and Xin's husband were on the sofa, and she played with her mobile phone again, symbolizing that she fell into silent indifference again.
And TV news is also the embodiment of boring life. Zhenya is playing with her mobile phone at home, and the TV is ringing. At the end of the film, Boris is sitting in the living room, and the TV is playing; Zhenya and her husband are also watching TV news. The mechanical and boring voice of TV news permeates their lives without emotion, reflecting a kind of boredom. with croaking.
The husband's in-car shot used to be a fixed long shot of the husband's eyes in the front-view mirror of Maluka outside the car window. The husband's numb eyes and the subjective shot of the boring road for a long time reflect a boring life under the flow of life. And most of the shots of her husband at work are presented in a symmetrically centered frontal shot, which reflects her husband's life and the sense of frame in his heart, a sense of immutability, emptiness and boredom.
For example, Boris is passive, while Zhenya is active. In the absence of love, she took advantage of the suffering of Boris Stoli's mother, but she can only see clearly in years of life that Boris is actually It was the one who took advantage of her, and Boris was the one who used Zhenya to save himself, but Boris was just deceiving himself, so when Zhenya vented this conclusion to Boris on the road, he stabbed the guilty Boris, and was kicked out of the car. She saw through the essence of this life, so she tried to get a divorce, she found a new lover, and she was very rich, she became very excited, so she would do maintenance, cut her hair, and take the initiative to seduce and please her lover. Because she held on to hope again. She sees the essence of life clearly, but cannot find a real solution. She is aggressive and positive, but the essence of her indifferent heart makes her unable to save her life through external forces.
And Jina's new lover is described as the opposite of Jina. He is a person with feelings, which is reflected in the details of his phone calls with his daughter, and the details of his actions when he finds Jina's son after he is lost, and turns off the alarm clock to let her sleep for a while. He is a kind of positive value, a rare positive value in the film, but this kind of warm hope is also diluted and dissolved by the terrible selfish indifference that Jin Ya is unaware of, which is also an expression of lack of understanding and care from the other side Terrible power.
The name of the film, without love, can be understood as having multiple meanings in the film. The first is to provide an expression of the lack of emotion of lovelessness, but also to suggest the status quo of an unaccountable loss of communication and understanding. On the whole, there is no love to sue, and it is even more the object of love to sue, and it is also lost.
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