The photography in the film is really beautiful, just a few empty shots at the beginning of the film, clean, spotless, far away from the hustle and bustle. There are many irregular compositions in the film, which give the picture a sense of imbalance. On the one hand, it symbolizes Aina's swaying or struggling in the inner path of choosing gender, and on the other hand, it also brings about the beauty of oil painting composition.
In the film, when Aina went to look for the dancer model, he was standing on the stairs surrounded by beautiful white gauze skirts. From his subjective point of view, the female model looked like a flower in full bloom among the flowers. Fairy. Coupled with her cadence and her unaware sexiness, it's as beautiful as a secret.
Laura Mulvey once mentioned the male gaze on the female, and the female is always the object of being watched. And in this movie, the male and female protagonists are reversed, as Gerda said when Aina wore stockings for the first time, that's the opposite, yes, everything is reversed at the beginning, like a mirror same as in.
Gerda is a painter, and the characteristics of her profession make her accustomed to stand from the perspective of the main body of her gaze to watch her creations. She has to mention the puppy in her house, when she painted the man. At times, she showed a kind of masculinity in the bearing and the way she spoke. When she ordered the puppy, the man couldn't help but be startled. She mentioned one word, surrender. She wants her subjects to surrender to her.
In fact, this is more evident in her marital relationship with Aina. First, Aina went home to pick up the clothes that fell on the ground, folded them, and then went to throw away the garbage, which is generally more common for women at home. In the sex scene, the inversion between the sexes is even more obvious. Aina on the bed is undressed, her eyes are blurred, and she looks at Gerda shyly. Gerda was wearing clothes, standing next to her, she was like a god, tall and majestic against the elevation lens.
So it was Gerda who woke up the girl named Lily little by little, and in the end, she never went back. Aina said that he didn't like going to parties, but in fact, he longed to be noticed, like a beautiful woman, to sway through the market and hope for love. And when she really turned into Lily, he finally knew that there was a beautiful woman living in his body.
And after finally having the first operation, Gerda went to see him. At this time, the composition was extremely symmetrical, the beautiful scenery, the corridor on one side, and the balance in his heart was finally balanced.
There are two very impressive shots of mirrors, once Aina rushes out of the house, runs to the dance studio, stands in front of the mirror, takes off her clothes, and looks at herself from head to toe, trying to hide her masculine features. Another time, in a foreign country, he went to see a strip girl's performance (I don't know if it was), facing the glass, like a mirror, showing Lily's existence.
View more about The Danish Girl reviews
