graduation reception, David took out Goya's painting, quickly flipped through "Maja in the Nude" and finally stopped. In "Maha in Clothes", he said that Conswella's brows and eyes were very Maha-like. Conswella is blurred after David's clear face in the shot, and she has become an object of David's art criticism rather than a love object.
Touching Conswella's graceful curves, David said, "You are a work of art." Conswella happily repeated this admiration that carried the abyss, as if she no longer "don't know what to do with her beauty", Subconsciously allowing himself to become a work of art, he eventually poses as "Maha in the Nude" at the end of the film.
senescence? What does aging mean? David kept asking. The age gap with Conswella in her 30s is obviously not the source of the tragedy of this love. This excuse can only point to the trivial and contradictory details of life. The sticking point is that aging becomes a critical position, an experience we bring into the artwork. And it is from this standpoint that David makes a conclusive criticism of Conswella's love.
He believes: Conswella will be taken away by young men sooner or later, because I have also been 20 years old, and I understand the state of youth. Conswella is lying to me that the date with her brother is an excuse for her to have sex with other men...
Even if Conswella shows her love and loyalty to David in the film, David's worries may not come true. After all, in the two years since the two were separated, Conswella still had a boyfriend, but she couldn't meet someone who was so addicted and loved her body.
But can love be criticized?
The film obviously deliberately constructs the complex interweaving of David's love attitude and Roland Barthes' aesthetic theory. Barth believes that the classical way of writing creates "readable text", which makes the writer and the reader in a state of separation, so the reader is often idle, completely passive, and a pure consumer. And modern writing should be "zero degree", this kind of text is called "writable text", its meaning does not exist objectively and must be obtained by the reader's rewriting of the text. Therefore, the reader becomes a producer from a consumer.
Conswella has clearly become David's "readable text", and he always stands at a distance, silently consuming this beautiful work of art. He'd rather turn Conswella into a photo collection, but deliberately turn a blind eye to her lips. Fear of marriage becomes the bedrock of secure and stable criticism, reliance on past experience not because experience is reliable, but because choosing experience is easy.
"Writability texts" are mostly obscure, like Alain Robbe-Grillet's new novel. It challenges our sense of security and inertia, so most people stay away. David is confused that he is in Conswella's love and can never judge and see clearly: this is the essence of love, love can only be "writeable text" - it will abolish any criticism, it is an eternal present tense , any language of consequence cannot stand here. The "present tense" is another expression of love's eternal vitality and infinite openness. The film handed this profound conclusion to David's old friend, George, who was a dissolute: "You are talking about Conswella in the past tense."
In fact, the love between David and Conswella is not a tragedy, unless you Looking down from a superhuman height. Conswella lost both breasts to cancer, and her future is uncertain. Continued beauty is disturbing and envious, and beauty's demise is comforting. Conswella is "Maha in Dress", "Maha in Nude", Conswella will also be Conswella who is no longer beautiful, and her last beauty is left to David's camera, completing his eternal collection.
Death will relieve David. Now that he turned to appreciate his love with Conswella again, he could safely say that they did. Yet death never has the ability to change reality, it just provides a new perspective, the ultimate experience David brings into the artwork. Art is dead, auctions and transfers will no longer take place, conclusion brings peace, and regret is just another aesthetic.
Seeing love as "writable" may be a redemption, but too few are brave and industrious. This kind of love will make the word "love" lose its meaning, break the signifier and the signified, and the meaning will be constantly rewritten and defined only between two people who love each other, and become the private feeling of extreme individuals side by side.
Finally, a nonsense paradox: Writing at Zero Degrees is quiet and emotionally thin. Because readers are motivated by the search for meaning in reading, they have to impose meaning on texts with obscure meanings. Most of the readers who like zero-degree writing are diligent in thinking, repeatedly entangled in their own feelings, and addicted to the infinite and hazy possibilities. Then, if there is zero-degree love, it is an ambiguous and indifferent attitude, implying the nerve-stimulating pleasure of uncertainty and diversity.
A bit of the popular "Asian lover" taste.
View more about Elegy reviews
