It's been too long-winded recently to write short reviews.
I especially like the emotional texture of this film, warmth and theory, discipline and anti-discipline, the rain and melancholy of the 1960s, the foggy nervousness, the cat puppets, the door song, downtown and end of the world. Of course CP also made me dizzy.
An hour ago, I thought it was a story about the resistance of mad women against the "normal" world, especially in the 1960s, when the sexual tension exploded, and the girls were too attractive to imagine they weren't gay. Sure enough, compared to women's prisons, women's mental hospitals are my favorite. Smoking, holding dolls, eyes, too charming, it's really hard to end Lisa and Susanna if they don't go to bed.
The film certainly begins with the performatively authoritative starting point of "I declare you mentally ill." The cold professionalism of the doctor overwhelms the physical and emotional demands of personal privacy. A very symbolic (but very lively) rebel plot is where the girls sneak into the office to circulate personal files that are usually regarded as professional secrets, which implies that a personal privacy becomes a public medical secret (controlled by professional authorities), through The usual way of adventure games goes back to the process of transformation (empowerment) in the hands of the individual. The scene in which they (each girl has a different reaction to her file) reading her pathological name and symptom description seriously or jokingly should really be included in one of the classic scenes, which is a kind of (different from masculine violent resistance) dissolving, achieved through some kind of indifferent banter.
In the next hour, things took a turn for the worse. Taking suicide as an opportunity, they started to split (abusive CP fans). The desire to move forward and return to the normal and vulgar world fought with the desire to tell the truth and be a naughty ghost and stay there forever, becoming the id and self. (i.e. lisa and susanna) (the id and superego in the final subterranean part), many theoretical discussions emerge from the mouths of mentally ill people, including discussions of "truth" and "truth".
It's actually quite a surprise. Although the tone is a little disciplinary in nature, the content presented is much richer. It is suitable for watching on rainy days, and maybe I will watch it again in the future. What I don't like is the same as I watched on the edge before. The positive energy part of "Being a Man Again" at the end is a little too disciplined and a little too "everyone has a bright future", which seems fake and empty (in a sense, this part much better than on the edge), the ending, as Eagleton puts it, is almost "a kind of domesticated Freudianism that turns attention away from the 'split subject' of classical psychoanalysis, Instead, it casts it on the unity of the ego. It is a psychology concerned with how the ego fits into social life: through various therapeutic techniques the individual is 'incorporated' into his Of the car's natural, healthy role, the distressing personality traits that might deviate from this 'norm' are 'cured' away."
I have the same question about these two films: was that a mental hospital you went to? Is it really not a university? Why are mental hospitals treated so well? Is it an ideological propaganda that makes people yearn for Western mental hospitals?
Not to mention, I went to find the two female protagonists.
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