This is a story told in the shaking of the cabin. The camera shakes in a small space, creating a strong sense of unreality. You will think: these may be just dreams for the protagonist. This mixed sex and violent story is told by Oscar, you are a voyeur - a voyeur in a keyhole, narrow and pure.
Mimi is a woman born for love. Her prosperous life is a bright yellow dahlia and a lingering vine. Her long branches and leaves temporarily obscured Oscar's eyes and opened the eyes of sex to heaven. We are dubious about this story, save those physical pains, we see only "sex", through Oscar's eyes, we see Mimi smearing milk on the breasts, and the desire to flow bright red nipples drowns Oscar; through Oscar's eyes In the language, we mean obscenity with Mimi's plump breasts, and molesting Mimi's private parts like a baby's mouth. Mimi, as sex, what you want is her body, you don't want to understand her mind, it's as pure as a barren land, which makes Mimi wearing white shoes no match for Oscar at all. The man quickly got tired of being shared too much in the flesh. Mimi's love is burnt with jade and stone. Two years after the vine of life was brutally exiled and torn apart by Oscar, Mimi has a fusion point with Oscar in spirit. This fusion of the rest of his life emphasizes life. of nothingness, it has sparked the fire of hell!
When Oscar leads Nigel into this story that he is about to know by heart, his purpose is different. By telling Nigel's story, he is conveying to another invisible voyeur, Nigel's "" The Seven Year Itch" - Feina. If the listener does not immerse himself in it, and does not act as an accomplice of the narrator, he will never be able to discern the purpose of the narrator. Nigel couldn't control it, and Mimi's sexual vitality made him fall into a false erotic trap.
But is Oscar's story true? Through this keyhole, what we see is Oscar's feeling for Mimi, so what about Mimi's heart? The pain he said was just one of the judgments made by men's strong thinking. Feina's peeping is through Nigel's retelling, and the observation with women as the main body is another kind of understanding. When the gorgeous Mimi and Fina lingered on the dance floor, we saw an image: intellectual and sexy unified appearance. These two perfect women ridiculed the male world with provocative eyes. They had a night of fun, their rationality was liberated, and their bodies became nothingness. Later, Oscar kills Mimi with the birthday present Mimi gave him, and also ends his despicable self. Maybe in the fire of hell, they can laugh at them, laugh at these voyeurs, and laugh at the filth of these voyeurs.
Love and reason coexist in the real world. The little Indian girl at the end of the film reappears: a relationship that needs something in common to maintain when love and sex are lost in the passing of time.
Love cannot be supported by sex, and letting greed overdraw love is an unbearable lightness of life.
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