Opening: A highway cuts through an ordinary town—so ordinary that it could only be a short stop for truck drivers. Bullfighters and bull-dressed men play in the wilderness, young and vigorous as if to show off, and they are small in the vast wilderness. They shouted unrestrainedly, but the voice seemed lonely and aimless. A giant steel bull stood under the long clear sky, its shadow taking over most of the view, its rusted testicles teetering in the air (it was later hammered off by a disaffected Josh).
Metaphors of class: close-up of Sylvia's eyes, the gloves she wears when she operates a sewing machine, her skillful movements when sewing men's underwear, the way she suddenly raises her eyes to look at the camera. In the debilitating gray tones of the factory assembly line, the flesh is also part of the production line—a row of male models in their underwear standing in front of the camera for pictures, which will be analyzed and selected to be enlarged and attached to the giant beside the highway. On the billboard, trucks streamed down the highway beneath the billboard.
(“I made this advertisement!” said the young and strong man Lu, pointing to the panties billboard in the distance in front of the young girl Sylvia, and he shouted all the way while driving a motorcycle, and she was walking proudly in a red dress. On the dusty road, Lu and Sylvia's intercourse is full of raw affection, like a distant poem, almost the only high point in this depressing story, but soon, when the truth of money transaction is put in front of you At that point, the story returns to a melancholy tone - Sylvia is sitting in front of this giant panty billboard and crying, she's very small.)
Metaphor of matter: Sylvia's cherished piglet is used by Lu as a prop to seduce Sylvia, the pig is killed under Lu's wheel and is later roasted and eaten; the action of Luche's ham happens every time Before and after the physical pleasure, the props he and Josie fought against were also hams; when Josie confessed to Sylvia, a lizard crawled out of the eye socket of a discarded plastic doll; after Lu beat Josie to death, he broke off in pain Get off the emblem of the factory owner's luxury car; Sylvia puts the treasured can tab back on Josie's finger, and it goes from a token to a symbol of an unfulfilled promise.
Everywhere is a grid of class and identity, but nothing can stop desire from flowing beneath the grid. The love here is so lonely, like an ethereal dream of Sylvia. At the end of the film, these entangled characters are lined up in pairs, and the wilderness unfolds behind them like a stage set, shrouded in an absurd atmosphere of tragedy.
View more about Jamón, Jamón reviews
