This is a brightly colored female version of Two Lovers, perhaps because of the female director, the pace is slower, the dialogue is more verbose, and the details are more broken. The tone of the film is very literary and fresh, but this story is really not new. In the face of this era of free expression and choice, whether it is a man or a woman, married or in love, young or old, as long as the fate comes, you can turn from the best partner of Qingqing to a deserter of betrayal. Margot left the chicken cooking expert because she had had enough of the delicious, drab chicken—they lost their minds of conversation, and all that was left was murmurs on the bed. The rickshaw-drawing and illustrator Daniel doesn't love her more than her husband, but it doesn't matter, he shares her generously in bed with other men or women when they're almost speechless. After all, what Margot is really afraid of is not the loneliness she herself said, but the ordinary life. When she was sitting on the flying car in the playground, the sky was spinning, the lights were blurry, she was shaking her hair and indulging in the psychedelic music, as if eating hallucinogenic mushrooms or marijuana, this is the feeling she wants every day- ─Then when the game was over, the music stopped abruptly, and the dazzling headlights illuminated the pale audience, everything seemed so awkward and unbearable, just like reality.
When we were young, we could do our best to finish the minuet and start a waltz, just wait for the bustling to come to an end, or as the grandmothers in the bathhouse said to the girls in Margot: The new will eventually become the old.
View more about Take This Waltz reviews
