But if you look at it on an artistic level, it has a big problem: a film like this shouldn't be directed by a female director, no matter how awesome she is, she can't read Philip Roth's emotions, or, as A woman, she may not want to read it at all, but only tells the story of a woman in her wishful thinking.
Women are emotional from the bottom of their hearts, and even rational women will eventually return to emotionality. Of all the female directors we know, there is one film that does not focus on "truth, kindness, beauty and love". Of course, most of the themes are based on these four-character scriptures. There is nothing wrong with it. , adding fuel to vinegar may also be a beautiful and touching masterpiece. But for some themes, I really can't involve these sentimental romanticisms, because these themes themselves are not used to entertain life, they are to untie the veil of sensibility, and look directly at life, the fragile and ridiculous , exhausted, and dying.
When you face life, you can add some emotional flavors, such as love, to make it easier and better; but when you face life, you can only admit that it is the ultimate reason, your beginning and end, What you will experience from immaturity to prosperity to decline, everything is already doomed, and there is no room for you to imagine and modify.
If love is the climax of life, then sex is the climax of life.
Love is beautiful, but sometimes it is false to talk about it;
sex and death are simple, but sometimes it is true to talk about it.
The original work of this film "The Dying Flesh" is a novel about life, and its main line is the climax and exhaustion of life, that is, sex and death. But I think the movie has misinterpreted that sentiment.
After watching the movie, it took me only three days to get my hands on the book and read it, not because I loved the movie so much, but because a few episodes in the middle were so lame that I needed to find the answers in the book.
It turns out that none of those crappy plots were from the original, and I think the revisions did the exact opposite, and proved once again how much female directors love telling love stories rather than life stories.
(continued)
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