The four main characters in the film are the protagonist Pierre, as well as Pierre's fiancee Lucie, cousin Thibault, who claims to be Pierre's half-sister Isabelle.
When Pierre prepares to marry Lucie, Thibault, his cousin and friend who has been secretly in love with Lucie, devises a scam in which Isabelle pretends to be Pierre's half-sister, hoping that Pierre will leave Lucie. After Isabelle confided her tragic experience to Pierre. To make Pierre's original beliefs collapsed and separated from family and society step by step to the abyss of nihilism and incest, but soon Lucie found Pierre and was willing to follow him, then Thibault planned the second step to use Isabelle to make Pierre force Lucie away. But Pierre, who was out of control, shot and killed Thibault, while Isabelle, who had fallen in love with Pierre, crashed and committed suicide for the innocence of her love.
Karax controls the story too ambiguous and loses the critical angle.
The director's intent was to frame a Hamlet-esque story on a deception that, through the deaths of "truth" makers Thibault and Isabelle, leaves the main characters forever in the abyss of self-circulation, bringing people back to faith Generated starting point for reflection.
The film is saying that "a great belief full of contradictions, a tragic choice full of charm" can also be a tool to be used, and once this obsession is activated, no one can control it. (This is also the key to detoxify Melville's original book) and the death of Thibault and Isabelle at the end completely buried the truth, and there is no truth at this time. What Pierre, who was sitting in the prison van, believed in was the "truth". To emphasize this point, Carax makes Isabelle say the last word to Pierre before she dies, "I'm telling you the truth." So the end is not the end of the tragedy but the beginning of the tragedy. And the ethnic cleansing of the Croats by the Serbs at the beginning is a tragedy caused by human beings believing in "what I believe". This great paranoia is the origin of all terrorism and race wars, and the first shot of the film, "We Are Transforming," is a Karaxian tragic prophecy.
Karax steers the plot towards ambiguity and ambiguity in order to design the audience into his prophecy! But the ideological appeal of the film's progression is so strong that the trained audience gets lost in the thrill of anarchism and loses a critical angle.
Instead of "The Opposition," this film reflects on the Opposition by showing the origins of the "Anti."
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