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At the bottom of the cliff is a turbulent sea, and above it is a "mad woman" who was tortured to extract a confession. When Dr. Milanta, whose hands were bound, faced such a "desperate situation", he may have only one choice: confess his sins. "I like it, it's a shame that these days are gone, it's a shame! I can't do it, Paula, I can't do it." He said of wiping the sweat off her and applying medicine, admitting Unable to resist the temptation to rape her, he revels in the power of the past: "I own you, I own everyone." He also confessed his "morbid curiosity": "I wonder how many times a daughter can be fucked? I Wondering what will happen to her vagina? I wonder if her vagina will dry out when she's electrocuted? Will anything grow out of that place in the future?"
He saw the inhuman torture of the secret police, he participated in her physical and mental torture, he confessed to the brutal history, but when all this became a "fact", the former victim Paulaire Walk towards him calmly, untie the wires that bind his hands, and leave alone. When the facts are clear, when the sinner is right in front of her eyes, why didn't she push him to the cliff and use a means of revenge to make him pay the price? Perhaps it was to abide by her promise during the interrogation: "If he confesses to the crime, I will let him go." Perhaps only when the truth is revealed, the resentment will cease to exist. After hearing about this dehumanizing brutality, he angrily approached Dr. Miraanta, who once regarded him as a good man and wanted to help him during the interrogation. The car was buried at the bottom of the sea, which seemed to relieve his wife's hurt physically and mentally, but in the end, he also stopped and followed Paulel off the cliff.
This is an unexpected and completely reversed ending, so the question is: Is Dr. Miranta really an abuser, and is that history really his own experience? Since he drank too much and fell asleep at Grado's house and was bound by Paulel, he has never known the experience Paulel was talking about, and it is another way to use Paulel's innocent violence to make himself confess the crime. Crime, "It's a crime, I don't know you, you're a lunatic." Because Grado had a flat tire on his way home, and Dr. Miratta kindly helped him take him home, a caring neighbor suddenly became interrogated The object, Miratta was surprised, angry, and even threatened that she would pay for it, while Grado became an accomplice, and such an attitude ran through almost the entire process of Paulel's trial, he was bound, He was beaten, blood flowed from his head, and a gun was pointed at his head. He lost almost all his dignity and personality. Under such circumstances, Miratta was also denying the facts of the crime that Paulaire said. It seems that he really Not involved, really not an abuser.
During this process, Miratta kept saying that he was not involved in this history, and that he had a certificate of alibi. He provided a phone call and provided a witness. In order to prove that what Miratta said was the truth, he also called After the phone call, a woman named Ilana on the other side of the phone knew Dr. Miranta. She could prove that Miranta was indeed not in the country during that time. Miranta denied his involvement in the sadism of Paulaire, and has an alibi, so his final "confession" in the face of the cliff seems more like a lie under the power of survival. Moreover, facing the final cliff, Miraanta's sudden change of attitude is extremely suspicious. The "facts" he said are more of feelings, whether it is the satisfaction of having power, or the coveting and possession of women's bodies, whether it is electric baton. The stimulation of the insertion, or the morbid curiosity, is a feeling based on the fact, and the fact is not revealed by Miranta himself. During the interrogation process, Paulel put himself in the humiliation. That history told her husband Grado that in order to calm the situation, Grado has been persuading Miranta to admit it, so Paulel was the first person to state the facts. The details, including the details "revealed" in front of the camera, including the 14 rapes mentioned at the end, are not secrets.
The fact that Miranta fabricated her own tyranny in order to survive is plausible to some extent. And Paulaire's accusation that Miratta raped and insulted her seems to lack the necessary evidence. During her detention and humiliation by the junta, her eyes were blindfolded, she just heard the voices of those who beat him, heard the abusive behavior of the doctor on her, so she didn't really see Clear the sinner, and after suffering this kind of insult, Paulaire has been living in depression, and became sensitive because of depression. After being released from prison, he encountered an emotional crisis with Grado, and Grado invested in another woman. In the arms of Paul, Paulelle was arrested and imprisoned because of Grado. When everything was changed, she was actually double-wounded, so she was raped and humiliated. Having said much, Paulaire, who has suffered a double blow, has been living on the verge of a nervous breakdown, and has even become completely neurotic, she will pay attention to the men in the cafe, she will be sensitive to the men on the bus, it seems that every Men are suspicious, and they could all be the doctor. And when she was alone at home that night, Paulaire was also sensitive and anxious. When a car appeared in the distance, she turned off all the lights, locked the door, and took out the gun she had always prepared. When she saw that it was Grado, she returned to her normal life track, and when Miratta came back again, Paulaire began to take precautions again and began to enter a state of war, so in the process of finally using violence, Grado also thinks she's crazy and totally neurotic.
Moreover, Paulaire believes that Miratta is the doctor who raped and insulted her, and it is just a resurrection of memories. She said that Miratta's voice and smell are consistent, "He is the doctor." This is somewhat a subjective feeling , and her only evidence was the box of Schubert tapes in the Milan Tower. Paulaire sneaked away from Dr. Miratta's car and found a cassette of Schubert's "The Virgin and the Dead" in the car. When she was raped by the doctor, the song was playing, so she was sure that Miratta was the murderer. , and when he tortured Miranta, he played the tune, "This is a gift from me." He wanted Miranta to restore his memory in this quartet, and use the same means to transform him from an abuser into a abused.
Judging that Miranta was the murderer because of his smell, sound, and occupation, or the criminal because of a tape in his car, was a stretch. Paulel was led to the violent world by his own neuroticism, and Miratta strongly denied that he was involved in it, and the proof of his alibi, which seems to be more likely to show that this is most likely a subjective judgment after Paulel was violated. Miranta's final admission of "facts" pushes into unproven suspense. What is the truth? Who is the real criminal? Or, did Paulaire really suffer from tyranny? Everything becomes suspicious again, but in this "trial" that seems to be full of farce features, this ambiguity of evidence, criminals and accusers is not to create some kind of suspense, but a way to downplay the individual: Whether or not Miranta is really that diabolical doctor, or whether Paulel was raped and insulted, or whether this "immoral trial" can be substantiated, downplaying the individual's experience and certainty, It is just to highlight the integrity of history, that is to say, during this period of inhuman rule by the military government, there may be discrepancies in specific victims, specific perpetrators, and specific details. , but as long as that period of history exists, all of this is real. The white terror under the totalitarian tyranny, the mad suppression of the democratic revolution, the rampant secret police, and the conflict and contradiction of the reversal of human nature are the truth.
And it is in this story in which the historical truth is revealed, the protagonist is not Paula, who was hurt and looking for sinners, nor Miratta, who may have abused and finally admitted his crime, but has been trying to Grado who resolves conflicts. In history, Paulel was the abused, Miranta was the abuser, in reality, Paulel became the violent, Miranta became the victim, no matter what the inversion of history and reality happened, Grado Among them there are more metaphors belonging to historical wholeness. He was originally a revolutionary against the military government and was the editor-in-chief of the underground newspaper "Jiefang Bao". All the articles in this newspaper exposed the atrocities of the military government, and the person responsible for contacting and collecting these articles was his girlfriend Bao. Lyle, finally their actions were exposed, Grado, who was incognito, was able to escape, while Paulel, who was on the front line of the struggle, was imprisoned, so Paulel's inhuman torture in prison was entirely responsible for Grado. , which is both a struggle for the cause of democracy and a commitment to the love between them.
But when Paulel sacrificed himself, Grado fell into the arms of another woman. This was a betrayal of love. After being released from prison, Grado seemed to be moved back to Paulel's side. The comeback turned into some kind of deception again. Grado is almost a symbol of betrayal of revolutionary beliefs and love, if this belongs only to history, then when it comes to reality, he represents the hypocrisy of this whole country. He and Paulaire live on an almost isolated island and maintain their so-called marriage, but they are actually divorced. Grado is concerned with politics, his own status and identity. When the military government is overthrown, when the president will be liquidated History, that he was on the side of the new government, and even was elected chairman of the committee, was nothing more than a gratification of power, he promised to bring to justice those who had persecuted her before, but it was more important for him to let her She no longer pursues that history, no longer has a neurotic life.
So when Paulel regarded the "gift" he sent as a sinner and committed violence against him, and this sinner was a good person in his own eyes, and he was likely to become an accomplice when he participated in it, so Grado was in the middle and played a Ridiculous character, and this character is just another portrayal of this country. On the one hand, he faced his wife with a gun, and faced the woman who had been hurt for him, hoping to help her and make himself less tortured, so in most of the time, he did become her accomplice , he tied Miran Tower with wires in Pauler's order, and then came forward to persuade Miran Tower to admit the crime, when Paulel only wanted Miran Tower to admit it, he could let him go after he confessed, and Grado put the whole incident into account. It was relayed to Miratta, had him write it down, had him confess to the camera, and when Miratta finally had a chance to steal Paul's gun, he helped his wife like a man, making her the initiative again.
On the other hand, he was afraid that things would get worse and worse, that he would not be able to exonerate the crime of complicity, and he kept persuading Paulel that it was a crime, a kind of crazy and irrational behavior. He accused Paulel of being too crazy. , identified the culprit based on his own feelings alone, and, as a lawyer, he told her, "Even if he is guilty, it shouldn't be." Lyle said: "Then kill him." As long as there is an explanation for Paulel, she doesn't want to kill, but in Grado's view, she may kill at any time, so he must stop it, and only stop it, so as not to expand the trouble , to preserve his identity. At the same time, he stood on the side of Milan Tower again, wiped the blood on Milan Tower, passed on Milan Tower's idea of going to the toilet, did everything possible to make him only admit the crime, and tried to connect the phone to prove that Milan Tower was not there.
So between Paulaire and Miranta, between past victims and abusers, between current abusers and victims, Grado can neither control the situation nor want it to escalate, this is the government A metaphor for being flattering, for being weak, and all for the purpose of maintaining the status quo. Grado is a lawyer, representing the law, the chairman of the national committee, a member of the system, and when this decision is leaked, the government sends people to protect him, and he represents the power, the role of the law, the system, and the power is to expose history. Protecting the weak, while in the whirlpool of revealing the truth, he is neither to bring the truth to the surface nor to protect those who are hurt, but just to keep himself from being implicated, just to protect his own interests, so he swings , so hesitant, so become a ridiculous puppet.
Therefore, in the case that the individual cannot restore the real history, in the plausible statement of the individual, only the historical integrity can construct the truth, and the historical integrity continues to ferment and continue to interpret in reality, just like the "Death and the Virgin" cassette tape All the same, it is a testimony to history, a metaphor for history - the virgin is deprived of her truest body, it leads to the death of love and trust, and in the final act, the "Death and the Virgin" quartet is on stage again Playing, below are Paulel and Grado who are enjoying the concert, and in the box is Milan Tower who is accompanying his family. The "immoral trial" seems to have never happened, but when Paulel's upward gaze sees Milan Tower , When Miran Tower's downward gaze sees Paulaire, it seems that they are all looking for their counterparts, sadism and masochism are inseparable relationships in history, and they are also insurmountable by reality, and the final shot is Grado, In his two-way eyes, he is in history and reality, he is in "death and virginity", an allegory, an existence that cannot be broken free, and a symbol that cannot be eradicated, because this country is the real mastermind.
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