The idea of consuming refugees as works of art could have been explored in more depth. But there are some shallow tastes. Throughout the entire love line of the film, it feels a bit redundant and too cliché. In contrast, the attitude of the artist and his assistants towards refugees has less interaction with the male protagonist. Personally, this part of the performance should be the focus of the film's irony.
From the lines in the film, the artist has an attitude of using the loopholes in the system to achieve the irony of the system. Finally, help the male protagonist to find freedom. Assistants follow the trend and use the system to benefit themselves, but at the same time feel uneasy and want to use excuses to excuse themselves. The differences between the two were shown very thoroughly in the Swiss scene. The artist mocks the assistant's rhetorical excuse with direct sarcasm: You're just the perfect pimp. After the court result came out, the assistant called to book a ticket for the male protagonist. After seeing the video of cheating death, he shed tears of remorse.
But the two images are not so single, one-sided. The artist didn't care about the male protagonist's daily life. After the male protagonist developed acne on his back, he came over as soon as possible. The artist is indeed dissatisfied with the system, but in the form of artistic irony, is it out of genuine concern and love for refugees, or is it just dissatisfaction with the existing world, a show of shrewd irony? ? At the end of the film, the artist designed the male protagonist to cheat to death, but used biotechnology to make a copy of the skin as his own museum artwork. I'm afraid his psychological motivation is not so single. The film also only shows this through the only plot, and does not describe it in depth.
The appearance of the female assistant Ji in the film, the sarcasm of the male protagonist who eats the buffet for free, and the signing of the contract. It can be seen that she has a bad attitude towards refugees. During the exhibition, her greetings to the male protagonist were more like a kind of protection for valuable works of art, and she even took away the male protagonist's passport full of scheming. In the Swiss exhibition, the crown spring, citing legal provisions, fully demonstrated her mentality of using the system for her own benefit. However, when she learned that the male lead was free, she took the initiative to call and ask where the male lead was going. Procedure for it. The tears she left after learning that the male protagonist died of suspended animation also proved that she felt uneasy after using the system for her own benefit, and she also had basic sympathy for refugees, perhaps only basic sympathy. This makes her care for the male protagonist not so false, and the character image becomes three-dimensional. Rather than simply appearing in a one-sided image of being satirized (Swiss collectors are simply the object of being satirized)
Personally, the images of artists and female assistants are the director's portrayal of two types of people in society. The artist has a detached and satirical attitude towards the world, but is this attitude out of caring for the disadvantaged, or just showing off his insight into the truth of the world? Is the help to vulnerable groups such as refugees just an accessory to show their intelligence? Female assistants are more like in society, shed tears and sympathize with some misfortunes, but only when such misfortunes appear in their own computer news will they be touched and relieve their innermost anxiety? The director did not elaborate. Up to now, the theme of refugees emerges one after another. As artist directors, do they really care about refugees and shoot refugee-themed movies, or do they just borrow refugee themes to express their superb film art? The audience is deeply touched when they see the refugee movie. If they are like female assistants, they will have a faint sympathy for the refugees in their hearts, but only when they see the news pictures full of death will they cry briefly. Focus on yourself, disregard for refugees, contempt?
Maybe if we continue to explore, the film will have a feeling of ironing itself, so the director let the film end in a happy ending of happy love.
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