25 The film presents a very peculiar spectacle that no one had ever tried before Luis Buñuel's epiphany in 1977. The film's original lead actress was Maria Schneider, who gave a relatively good performance in Bernardo Bertolucci's "Ultimo tango a Parigi", but filming has begun. Three days after the film, she fell out with Buñuel because of too many nude scenes in the film, so that the crew had to stop filming, the budget was flowing away like a river, and Buñuel was with the producer at the same time. Booze in the bar. As a result, the Spanish master, who has an unusual nature, did not find another actress to start over like ordinary directors, but thought of using two actresses to play the same role alternately. With the support of the producer, he really did just that, leaving a living example of a continuity flaw to people doing theoretical research. The TV series "Journey to the West" had to use multiple actors to play the role of Tang Seng due to the scheduling problems of the actors, and could only rely on the effect of change blindness to expect the audience's degree of substitution to remain constant when watching the play; Buñuel, who changed the original shooting plan, although he threw out the idea of playing the role of two women who were very fresh, but after careful arrangements, he fried this lettuce so that it was not only familiar, but also maintained a full game. . The glamorous Conchita was created by two actresses, Carole Bouquet and Ángela Molina. Molina) starred together, a restrained, cold, dignified, wearing a chastity belt on the lower body that makes Mathieu, who is madly infatuated with her, impatient, and tastes indescribable frustration; another extroverted, passionate, sexy, for Stimulating Mateo, venting her instinctive resistance to him, and having a tender relationship with another younger lover in front of him, turning upside down. They let the two sides of the female character Conzita be prominently exposed, and Buñuel let the two alternate as the plot demands, creating a capricious woman. When Matteo's feelings for her were unstoppable, Conzita's indifference immediately extinguished the fire of his desire; when his passion for her subsided and became calm, Conzita's enthusiasm immediately rekindled him the light of life. His fanatical pursuit of her is always a scratch, like a ghost, unable to catch or escape. When Conzita, with a nosebleed and trembling, took out the key to the villa that Matteo had bought for her, handed it to him, and told him that she loved him, the allure of a woman to a man had reached its limit. At the peak, he was exhausted by this elusive attraction, but he could not give up willingly after the most painful setbacks and insults. This highly creative expression of the love between men and women is difficult to cover up, and even highlights the slight frailty of the character image. The audience's sense of substitution arising from the emotional fluctuations of the hero is blocked by the slightly alienated character image. Reach a shocking climax. Excessive dialogue and the depiction of characters with a sense of distance are the usual deficiencies of French lyrical petty bourgeoisie films. This may be the reason that Eric Rohmer, after a lot of philosophical speculation in his own films, was able to be popular among many French directors of the same generation. One of the reasons why it is different. This film may not be more soulful than Krzysztof Kieślowski's role as a woman in La double vie de Véronique (La double vie de Véronique). However, the Conzita created by Buñuel in "Hazy Desires" is historically significant, and the film is undoubtedly very experimental, its consciousness was advanced enough at the time and personality enough to allow it to play a role in art. Daqi's film work has a place; but it is not as blunt and obscure as many experimental films, exuding the smell of raw raw materials, but it has been given a very real artistic treatment by Buñuel, which breaks the audience's perception of it. The identity of the characters and the trust in the hallucinations give the audience a critical eye and at the same time experience a considerable degree of resonance. It is with Brecht (Bertolt
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