Monica is old, but the signs of natural aging give her a detached temperament compared to other goddesses who are still fighting against free radicals, with crow's feet at the corners of her eyes, a slightly bloated figure, and her gestures revealing Her exhaustion of worldly utility has greatly weakened the visual impact of her stunning image in her early years. Her ability to awaken male hormones may not be as good as before, but she has left more emotional space for people to slowly appreciate her beauty. Lao Ku captured this beauty and made it one of the themes in his script.
This time, Lao Ku may just want to have a vigorous love affair with his muse. Who wouldn't want to fall in love with Monica Bellucci? Jiang Xiaoyu is going to make "Looking for Monica", you can see how bad this film is after reading the synopsis, but many senior diaosi in the circle can't hold back their excitement and joy, saying that it is a dream come true. Well, movies can create dreams, and they can also make dreams come true. Peng Haoxiang had Shao Yinyin in his adolescence, and his dream came true; Ellie Rose had Edwige Finnitch in his puberty, and his dream came true. Even if the goddess of that year is already old and pale, and her face is too hard to look at because of the injection of Botox, she still has to make her look charming under her own lens. Feelings are useless to others, but invaluable to oneself.
Men have probably always regarded women all over the world as potential courtship objects, which is an animal instinct that has been covered up, suppressed and restrained by civilization. The justification given by evolutionary psychology is that the need for population reproduction written in the genes is gradually tainted with the color of power, and the amount of disposable resources determines the size of the space for instinctual release. In modern society, this instinct still remains in a daydream, supported by the privilege of being half-creative and half-obsessed, reorganizing and amplifying the power of the limited resources of daily life, and doing everything it can.
However, people refuse to be in the company of animals, and the important sign that distinguishes people from animals is the grand appearance of love. In its essence, love is a kind of belief, which stands on the other side of animal instinct and calls people to be born into human beings. It is neither a fig leaf nor a catalyst for instinct, but only a reference for instinct. Therefore, when a daydream has only instinctual content, it is a raw film; once love is involved, it is a literary film. However, it is always difficult for people to tell the line between animal instinct and love, which is why some people don't understand why Lao Ku is old and ugly but can win the hearts of two great beauties.
Lao Ku's spiritual world is very complex, with naturalism, mysticism, and existentialism. He fully believed in human animal instinct, believed that there was some subtle connection between human and animals, and believed that human should have something beyond animal instinct. The animals under his lens do not necessarily have profound metaphors, but are just a transformation of the earth complex, an indirect lyric to the earth by a person who is full of affection for the earth. When survival becomes the common theme of life for humans and animals, the boundaries between humans and animals are blurred, especially in the context of war, humans become more like animals, and animals become more like humans. The world is noisy, but the lovers in the love field are quiet. Lao Ku has subverted all secular views of love, those that have attached many additional conditions to love, those that are dominated by power, those that are dominated by economics, etc., and let love escape naked with its original appearance.
The pit viper is one of the most symbolic images in the film. It is likely to be from the myth of the Garden of Eden, by saving Adam and Eve to complete their own redemption or something else. I can't come up with the specific meaning of all the animals in Lao Ku, but I know that even animals are escorting love, which shows how sacred love is. The ending of the film is reminiscent of Kim Ki-duk's "Spring, Summer, Autumn, Winter and Spring", but the intent is quite different. Lao Ku spent the rest of his life paving a heavenly road to love. This heavenly road, we call it a miracle.
Haizi once asked, "Besides loving you, is there any other miracle in this peaceful and dark world?" I'll take it as a simple love question, and the answer must be no! Because of love, there are so-called magical realism elements in this film. But why must they be treated as magic, isn't it better to be treated as miracles?
In addition to loving you, there is no miracle!
View more about On the Milky Road reviews
