When I just watched it, I felt ordinary because of the many clichés in the plot. I stopped and thought about it, and found it to be pretty good. The story is relatively straightforward: Susan, a hipster, received a novel from her ex-husband Edward, partly because she felt ashamed at the time and partly because her husband and wife were indifferent now, so she opened a gallery during the day and read the novel at night without sleeping all day. During the reading process, she found that her husband was having an affair, contacting her estranged daughter, and she was in a trance, but the most important thing was to recall the past while reading. , as a result, the ex-husband did not appear in the end. The plot of the novel is not complicated. The family is in great trouble after provoking a perverted boy on the interstate highway. The wife and daughter are raped and murdered from the mouth, and the husband is weak and can be deceived and escaped. After that, it seemed that the husband was in a brood, but the whole process of revenge was carried out by the fake violent police, and two of the three murderers were killed by legal and illegal means. The last big evil was killed by her husband's gun, but he was also beaten and blinded, and he could no longer see the big revenge. I think it is mediocre, because these two clues are not very new, and the character setting and language are not surprising. The lighting set is of course good, but isn't this the job of the fashionista (of course, if you think about it a little bit, Tom Ford is already at the peak of this field in his first shot, and there is no need to pursue this in the future). I think it's good, it's the result of thinking about the position corresponding to Susan's memory and the content of the novel. First of all, this is a film about reading. It is about the process of readers constantly imagining, reflecting, feeling, and finally affecting their actions as the text expands. When Edward wrote novels, he got inspiration from his own experience with Susan, that is, art imitates life; Susan reads novels, gradually being influenced by the content, and finally trying to act and proves to be a blind process, it is life imitating art. Susan's transition from wanting to be an artist to opening a gallery can be said to be the irony of this relationship; when the audience watches the film, it is another iteration of this relationship, and Susan has superimposed a layer of influencer status in the whole event. So far, about creating - Appreciate that the discussion on this topic gradually becomes clearer. Kind of interesting. Let me first talk about why it is not just "doves in full bloom after flirting, green hats raise their eyebrows", and not just "weak men are bullied and strong people help, complaining ladies can't forget the horror of old night reading". The book "Nocturnal Animals" is similar in length to Susan's real life in the film, and at the same time, its fictionality has been emphasized. Whenever the audience is about to put aside their doubts and devote themselves to this apparently more exciting story, the screenwriter will forcefully interrupt it, such as the book landing with a loud noise, or the inside and outside of the book overlapping and jumping. Some Douyou expressed their disgust with the "repeatedly falling book", not to show Susan's fuss, but to tell the audience again and again: This is her reading, and your experience just now is a second-hand experience obtained through Susan. Therefore, the film Nocturnal Animals is no longer about "content" - either Susan's "Nocturnal Animals" or the novel "Nocturnal Animals" - but about "relationships". The meaning of the novel "Nocturnal Animals" is not its own expression, but the connection between Tony's story and Susan's story (just checked, the original novel of the movie is called "Tony and Susan"). Simply organize the correspondence in the order in which the movies are told. 1. Susan drives home in the dark of LA. Here, the reflection of the house door made her unable to open her eyes, which was the first time the concept of "nocturnal animals" appeared. 2. Another car parked in front of Susan's house, but did not get in. Read on to see that this is Edward who left the manuscript for the novel, and this is the only time he appears in "real life" (here and now), and he doesn't show his face. He also exists only at night. 3. It was getting brighter, Susan didn't sleep all night, and the morning TV made her unbearable. 4. The housekeeper brought the manuscript package, Susan's hand was scratched, and the housekeeper asked the housekeeper to unpack and read the letter. 5. The letter said that this novel was about to be published, which was different from the previous one, and I hoped Susan had a sneak peek. 6. Susan's husband Hutton appeared, and the two talked to introduce the relationship and background of the characters. a. Here, the novel Nocturnal Animals caused physical harm to Susan before he actually appeared, indicating the intimate relationship between Susan and the novel; Edward, who caused all the consequences, left the scene without showing up, which is the relationship between the author and the reader. direct display. And what he said was "not the same as before", how is it different? b. As for Hutton, not only does he not care about Susan, he has absolutely no interest in galleries/art. 7. Susan and his wife attended the pretentious hipster party. The secret is not a secret. It is fake or true. Susan said she and Hutton wanted different things and were not happy. 8. Susan and friend Alessia's Gay Husband Carlos in question eye dialogue. There are some soundbites about life in it (“No one really likes what they do”, “When you were young, you devoted yourself to doing things because you thought it was meaningful, and when you grew up, you realized that it was meaningless”), but there is a key sentence: “Our world is a lot less painful than the real world." c. Here, our world can be understood as LA's Vanity Fair, but to our audience, their world can also be said to be "the world in the work/story", in other words, Carlos The meaning expressed here is that "the pain in the fictional world is far less than that in the real world", and "it is easier to find meaning in the fictional world than in the real world" - also said in "Listen to the Wind" . d. Self-conscious Carlos, the suggestion to Susan is enjoy (the absurdity of the world). 9. When she got home, Susan took off her makeup and read with glasses. In other words, reading is a process of confronting your true self and examining yourself. This is the end of the explanation part, and the next is the main body of the film of reading/life. 10. The Hastings family is what Susan imagined. Tony looks the same as Edward, his wife and daughter Laura and India are both Ginger, as well as Susan and their daughter. 11. Tony's first choice was to escape the conflict and let his daughter have an opinion to find her mother. 12. The switching between inside and outside of the book is fast, which means that the concentration of the book is not very concentrated at the beginning of reading. The longer the plot in the book lasts, the more focused Susan is reading. 13. When the time falls, the car enters the wilderness, and the stage for the novel Nocturnal Animals is completed. 14. Tony drove away the car of Ray's gang, but actually saved the convertible that was on the inside at that time; India's middle finger was the beginning of all bad luck; Ray's gang deliberately made a car accident to make the big drama staged. 15. Ray pulls Tony's car to a stop, the constant tension erupts and Susan rests. 16. During Ray's provocation, India said he was lying again, and Tony had been avoiding conflict. 17. After some argument, Ray's group succeeded and drove away with Tony's wife and daughter. Laura had created a chance to escape, but Tony froze on the spot and was hugged by Lou. 18. Susan was startled and called her husband quickly. After further questioning, she found out that her husband was having an affair, but did not ask. e. Until the face is torn apart, the behavior of Ray's group can be said to be cloudy and suspicious, but it can also be said to be harassment if it is taken literally; in other words, there is a huge tension under the unknown surface. Corresponding to Susan, she was her husband who had been reluctant/dare to go to the front, but she knew there was a truth behind it. She called her husband out of the blue, either because she was afraid of losing her lover or because she was inspired by the novel to take action. Here, the right of interpretation is placed in the hands of the audience. 19. Read on. Tony was forced to drive by Lou, and cried on the road, trying to resist, but gave in after struggling. Lou spared his life, but Ray drove back to find him, shouted for a while and he didn't answer, and Ray and his party left. It may be said that the attitude of escape is sufficient for self-protection. 20. It was dawn, and Tony finally called the police and checked into a hotel. Here a series of dissolves. Take a shower, curl up, lie down. Susan has deep empathy for Tony, and readers are captured by the book. After that, what happened to Tony became closer and closer to Susan. 21. The police called, found the car, and Andes, who was in charge of the case, asked Tony to go back to the scene of the crime. On the way Andes heard Tony say that Ray and his party had driven back to him but he didn't answer (19), so he asked him why. Tony didn't say he was afraid or said that it was going to be a disaster, just that he didn't know. In the face of his own escape, he further chose the attitude of escape. 22. In the version I saw, this paragraph was obviously cut. What is certain is that Tony and Andes found the place where the wife and daughter were dumped naked, and the camera jumped frequently in and outside the book (Susan pinching the pendant is very abrupt, I suspect that the original film has a close-up shot of the naked chest and the pendant) , while Andes examines the body, Tony asks: Are they all right? 23. Susan couldn't read anymore and called her daughter. The daughter was woken up and said it was Sunday morning. (It's been cut here again, maybe one is the naked body of his daughter, and the other is that Tony saw the naked body of his wife and daughter. Calling the grading system.) f. From Friday night to Sunday morning, Susan read in one go for more than a day. Feeling uneasy, she put down the book and began to recall the past. What's interesting is that her concern for her husband and daughter is to let them sleep, which is the concern of nocturnal animals to diurnal animals. 24. Susan and Edward reunited in New York more than two decades ago and clearly have feelings for each other. Edward's first real appearance (2) is from the back. Note that Susan went from "being an artist" to "reading art history", and when she asked Edward why he wasn't "becoming a great writer", Edward's answer was "I am". It can be understood that he said "I am becoming a great writer", but it is more likely that "I am a great writer". Either you are a writer or you are not, you don't become one. 25. Eat, Edward from Texas is a good gentleman, gay sympathizer, crush of Susan's siblings. Note that they are all from Hastings (should refer to Hastings in Greater Houston, Texas), which is Tony's family name. 26. Susan hated her parents very much, and Edward pointed out that their mother and daughter were very similar, especially how his father felt about Susan's mother when he died. g. It can be seen from this that Susan will be the girl who "I will be the one I hate when I grow up". The point is, how did she get there? I can answer in advance: this is the result of escaping. People can't change the imprint of their parents very much. To become a "different" person, what is needed is "how to be different", a new direction. Simply opposing the present self is not a real choice, but an escape from answering that "new direction". You don't know where you're going when you back up, so you're back where you started at some point. h. The following dialogue about the artist is a turning point in the relationship between the two and an important embodiment of the theme of the work: what is the relationship between creation and people? The "new direction" in g is the result of creation. The representative of creation is art (it cannot be said that creation = art). So "becoming an artist" here means "having the power to change oneself". Susan immediately wanted to be with Edward because of Edward's affirmation of her at this point. Her lack of self-confidence and Edward's certainty, as well as future Susan's mother's evaluation of the two (described later), imply the following meaning: the world of art is self-sufficient, and the materialistic world is also self-sufficient. On different planes, the two can incorporate the other into their own system, but to construct an orderly structure that is equivalent to the two, this attempt will fail in most cases. In layman's terms, it means "you can't always want to eat this and occupy the other". Susan's attitude is such an attempt to fail. She said that artistic creation needs the starting point of deep inside, and she is too cynical, which shows that she first separates the two, and then cross-sorts them. The result of this is that her actions are chosen between two worlds depending on the difficulty of the obstacle. As a result, whether or not her creativity is high or low, it is unlikely - at least very difficult - for her to actually create, because she cannot even guarantee the nature of her behavior. It is even more impossible to embark on a path different from that of my mother. Edward said that she underestimated herself from the perspective of ability; Susan's own concerns were the result of her worldview. In layman's terms, be a human being, be pure. The starting point of inside is that she is too worldly (cynical), which shows that she first separates the two, and then cross-sorts them. The result of this is that her actions are chosen between two worlds depending on the difficulty of the obstacle. As a result, whether or not her creativity is high or low, it is unlikely - at least very difficult - for her to actually create, because she cannot even guarantee the nature of her behavior. It is even more impossible to embark on a path different from that of my mother. Edward said that she underestimated herself from the perspective of ability; Susan's own concerns were the result of her worldview. In layman's terms, be a human being, be pure. The starting point of inside is that she is too worldly (cynical), which shows that she first separates the two, and then cross-sorts them. The result of this is that her actions are chosen between two worlds depending on the difficulty of the obstacle. As a result, whether or not her creativity is high or low, it is unlikely - at least very difficult - for her to actually create, because she cannot even guarantee the nature of her behavior. It is even more impossible to embark on a path different from that of my mother. Edward said that she underestimated herself from the perspective of ability; Susan's own concerns were the result of her worldview. In layman's terms, be a human being, be pure.
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