Iss and Julie have been in love for eight years—an epic in terms of French love rhythms. I don't know if they were itchy for seven years - just from the tossing of the two at the beginning of the film, it seems that they have been scratching for a year. Alas, what should I do when love encounters a bottleneck and life is lackluster? I am an unimaginative Chinese who seems to just eat and die. And the French, the people of Eros, have another brilliant idea, that is - find another person to join, have a threesome, and break the stagnant water with a new imbalance. When I saw that Alice was a beautiful and tall brunette, I was moved by the generosity of the heroine Julie, which didn't disappear until I found out that Alice turned out to be bisexual and had a preference for women...
There are infinite possibilities in the relationship between men and women. The extension of these relationships is related to morality, but in essence, it is not a moral issue. In other words, when considering the relationship between men and women, morality should be a light indicator. What's more, the cuteness of the childish behaviors such as three wonderful people cramming together on the same bed, not having sex but reading books, digging in and out of the quilt and playing hide-and-seek, as well as the anticipation of possible passionate scenes, etc., made me reluctant to tell them early. Wielding the moral stick and making accusations. The three people lingering, whirling, and singing on the street corner at midnight constitute the most splendid scene in the whole film. Paris seems to be the paradise of love. No one knows what is jealousy and scramble, possession and abandonment. There is only pure happiness here.
On the screen, they are performing love, and off-screen, I put your lipstick between my fingers, imitating Iss's smoking action, and spit the non-existent smoke ring on your face.
Unfortunately, Peach Blossom Garden only appeared in middle school textbooks. Iss and Julie finally rekindled their old love, leaving Alice alone. The poor bisexual experienced double the pain of losing two lovers at the same time, and what she did not expect was that her turning and leaving did not fulfill us in the end. Troubled hero and heroine.
Julie's sudden death changed the tone of the whole film sharply, and the audience's buoyant mood needed to settle down, but no one thought that it would fall to the ground in such a sudden weightless way. The dashing Iss, who seemed to never care and didn't care, disappeared. The heart slept in the cemetery with Julie's death, and he became a sad silhouette on the streets of Paris, thin, cold, empty, black, and fragmented.
A kite has been cut from the line of love, and all that is waiting for it is to fall or be swept away by the wind. A little elegy for love is left empty.
Ivan is a bright spot in the heavy second half of the film. This little scruffy boy with curly chestnut hair appears as a metaphor for love itself - since love is our friend, why does it matter if we call him "he" or "she"? He symbolizes the childhood of love - pure, fresh, simple thoughts, no return, no discouragement, wholehearted giving, with the most primitive vitality. It is not as lifeless, selfish, and jealous as the love in the old age, only the naked possessiveness and the fear of losing are left. So it's understandable that Yi Si was moved in the end - the beauty of love itself is powerful enough to transcend gender.
We know too little about love, but often, we love too much, giving love various meanings, missions, and futures, and dressing love as what we think it is. We hope that our love will grow up quickly, and mistakenly think that she is mature enough, taught her the skills of adulthood in childhood, told her future goals, and demanded her with adult standards, so she matured prematurely, but also prematurely senile .
She is dead, but she was a good child.
People in love, please love less, please love longer.
View more about Love Songs reviews
