Ou Rong is really amazing
very
Many directors like to adapt literary works into films, while Ou Rong directly incorporates literature and writing into important aspects of film narratives as visual details and psychological expectations.
From the beginning of the story, I started to look forward to the murder of the cut, and as the plot progressed, I was thinking that there is a good chance that there is no murder but that Sarah conceived it herself. In her imagination, Julie is the French illegitimate daughter of publisher and lover John, whose mother may be killed by John and destroy the manuscript. But at the end of the film, we see John's "real" daughter, Julie in Sarah's eyes, and the "real" Julie waving to Sarah by the pool.
So which is the real Julie, whether French Julie is imaginary or someone else's fake, we don't know.
And whether the inspiration for Sarah's new book comes from the manuscripts of French Julie and her mother, or whether Sarah herself wants to break through the bottleneck of previous writing and let herself go, I think both make sense.
I have to admire Ou Rong's narrative structure. Without the reminder of obvious pictures and sound effects, it relies on the audience's thinking to transform the narrative space and time. The film is not like "Into the House", which can clearly feel the dual-line narrative of true and false. This film is also a dual-line, but it is a dual-line hidden in the hearts of the audience. One is French Julie and Sarah, and the other is the writer Sarah .
It is really 666, it is worth pondering many times.
(When the VIP members of the Penguin app can enjoy the uncensored version, they will be worthy of consumers' money)
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