I've never seen a film that three-dimensionalizes literature so vividly. Until the last shot of the whole film suddenly disappeared, and the huge End that Antonioni must appear at the end of every film appeared on the screen, I looked at it in the dark and felt a strong despair. The heroine is holding the child, and the green coat looks dazzling and abrupt in the gray and black mist of the factory. Just like the subsequent development of the story, she always wanted to be rebellious, even though everyone around her was so ignorant and numb, looking at her coldly. Even if she dared to nibble on the sandwiches that strangers had eaten, and asked for help to gain a lively connection with other people's lives, they just stiffened their faces and gave her mechanical movements. What she faces is an eternal tangle - to obey or to flee? Gilena sat sullenly in the hallway, moaning surly and vulnerable, worrying about her body and mind—yet her husband came over and touched her and kissed her as if she was just a complex, but But the lifeless puppet is at his mercy. Multiple shots of the film give Gilena's blond hair, from a distance, full of luster, so gorgeous and elegant, as if she is wearing a huge crown - just like the brilliant invention display of the industrial age, the propaganda in the newspapers. "The flourishing period of human civilization" seems so joyous on the surface, and the sense of self-superiority of human beings is everywhere reflected; however, when the camera is advanced enough to see every strand of Jilena's hair, it is suddenly discovered that they are So messy and tangled, the texture is dull as straw, so much hair tumbling forward seems to devour her eyes and face - just like the alienation of human nature in the industrial age, the spirit of profit and self-restraint are in one Hiding under the skin, it can eat away the innocent nature of people a little bit. Gilena couldn't restrain herself from having a tryst with her husband's colleague, but she couldn't completely indulge. She struggled to figure out what it was. Was she seeking the truth of her voice to restore her former sensibility as a human being, or was she gradually becoming as indifferent, cold and numb as everyone else, giving up taking her emotions seriously? She wanted to get close to the man, but suffocated away from him; she acquiesced to the man to stroke her hair, but did not want to be kissed by him; she cried "help me", but stood up immediately when the man sat beside her Get up and go far... Such struggles, weirdness, and contradictions make Gilena a proof that she is still "alive" in a crowd that tends to be the same. While chatting amusingly with her husband's co-workers and friends, Gilena really had a brief moment of joy. Intense and bright red burst into the camera. They were sitting in a cramped red wooden house and chatting and laughing freely. Desires and fantasies were so nakedly displayed. Such an extreme scene made Gilena return to her vivid and free state in a trance, and she laughed heartily for the first time in the film. However, just like the environment they are in, red has been added with three shackles: a small space, a short time, and finally, it is still imprisoned in the gloomy color of gray and khaki and cannot escape. Just like outside the hut, Jilena stood facing the rest of the people, a white fog, their facial features blurred in the flowing white, their gray and black coats were looming in the fog, and no one spoke. There's no action, and the lifeless scenes look so chilling. It was as if she was facing a cold industrial machine. I wrote it here, my thoughts were interrupted.
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