The two set off based on doubts about feelings and doubts about reality. Verona thought Bert was "naive", and Bert wondered why Verona was still reluctant to get married. Coupled with the relocation of Bert's parents (this is also the first couple that appeared), the attitude of Bert's parents towards their children in this incident made the two have a strong search for how to better treat the newborn in the future. Desire, and what Verona calls "are we a mess" and "34 years old doesn't even solve this most basic life problem", the two finally decided to set off to see what it takes to be a "happy" family.
The second couple appears to be an extension of the first—Bert’s parents. The woman was open-mouthed and never thought about others, not even his children (she used them as a joke, saying "don't worry about them, they're self-healing"). ; The man was silent and patient, his own little thoughts could only be rambled on, everything seemed to be running smoothly, but there were indeed unstable factors. Because these two couples are only living in their own world, marriage and children are just ropes, so that this "family" will not be separated. On the bright side this is a chapter on how to deal with children in the family, and on the dark side is how to deal with family relationships. This second couple presents the most primitive "negative teaching material" in a crude image. And this opposite is actually caused by not realizing the weight of the word "home".
At the end of the first chapter, "No one loves like us, right?" The negative teaching material allows Verona to see the preciousness of the love between the two. The meeting with my sister in the second chapter is more of an adjustment of the film's emotion and rhythm. How pleasant it is to have Bert, always reminding Verona to cherish this feeling. But life cannot be continued by cherishing it. How to face those philosophical problems?
At the airport, the staff firmly denied that Verona was carrying a six-month-old child. It is always difficult to change the thinking of others, but you must learn to accept it and achieve your goals through compromise and humility. This is the beginning of a chapter on Thoughts of Others, and our third chapter, an interview with a family full of seemingly elegant air, begins to unravel the hypocritical exterior of some families. To mark some strange ideas, and then the most important thing is to ask others to accept it, this is a proper mental rape. Without discussing this disgusting behavior, Heli himself put a name of "love" on the imprisonment of children, just like the baby carriage, which makes the loved one feel sore, and gives the lover the satisfaction of being in control. Selfish thoughts, shouting "follow your heart" while resisting the actions the child's heart desires. Hypocrisy, only hypocrisy. In addition to the act of mental rape, this seemingly elegant and intelligent Arab classical style decoration scene is also filled with the sublimation of copper odor, which only makes people feel breathless.
The third chapter ends. It is more a critique of "hypocrisy" existing in the family. Although the two felt uncomfortable, they still realized that others already had some family values and firmly respected and maintained them. And Chapter 4 begins to lead us to see something bright. A friendly communication experience that not only understands the family but does not lose the wit of verbal expression. In this chapter, Verona and Bert begin to understand "what is a home" under their elaboration - a happy home, with sweetness filling every inch; "patience". And trust and understanding are directly manifested in the incident of pole dancing - pole dancing itself has a little frivolous meaning, but the husband knows that this is a manifestation of his wife's sadness. Sweet role model, it's a pity they still need to grieve for not having the next child.
If those negative stories are telling Verona and Bert that their encounter is appropriate, that their love is reasonable, and that they are an illustration of the attitude toward love, then Chapter Four provides guidance on how the family functions after falling in love without being confused. The first two parts also see some shadows of Mendes' "American Beauty" and "Revolutionary Road", while the fifth chapter seems to be another version of Eastwood's "Last Dreams of the Covered Bridge". It also makes people think about the responsibilities of the two in the family. It's like a wake-up call to Verona and Bert.
There is a very interesting element in the film - candles. The candles express more of a sense of warmth in the family. At the beginning of the conversation between the two of them, one appeared in the room after the power outage. Correspondingly, there are candles all over the table in Heli's house. At this time, the candles more represent the glitz brought by some kind of copper odor in Heli, which is a representative of hypocrisy. At the same time, when talking with other families, the relational shots show a certain tolerance and opposition by blurring the foreground, one family, and one family in the background. Here, it is directly divided into two groups of shots based on gender. It also shows more of a personality antagonism between the two families. Just like the popularity of the men in the two families, both stimulated the development of contradictions. And this also shows the hypocrisy of his family concept - the children who are admired and loved by him in the whole process are excluded, whether it is expressed on the camera or in the dialogue in the content. Going back to the candles, Mendes in this film is actually more derived from the family, advocating that everyone understand the meaning first, and then act, just as Verona resisted marriage at the beginning - "I don't understand what he means. "It's better to do it after you figure it out than to do it without understanding it, or just pretend to understand it.
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