There is a touch of monochromatic tranquility in the thousands of flowers.
I thought I could see some clues about clothing fashion, but the film is basically told through the ups and downs of Chanel's love road, and those clues are only sporadically revealed from her critical tone. The biographical film is in an awkward position, neither very biographical nor purely romantic. But relatively speaking, the fragment of love is still complete. When the lover dies, the flash and the flash appear, and Chanel is done. This connection seems particularly abrupt. I think the director's approach is to deliberately highlight Chanel's stubbornness, her sharp character, and her steadfastness to things to show her ultimate success.
About the end of a love affair, caught in a dramatic true love-to-death siege. The deeper the love, the easier it is to lose, and the replacement with reality is often a vicious circle where true love is easy to die. From a biographical point of view, this routine is still moving, because the association it brings is a double association between drama and reality. From a person who does not know what love is to a person who is watching for love, from a poor man to a leader in the upper-class fashion circle, from a little COCO singing COCO songs to Chanel, no matter mortals or celebrities, they are inseparable A deep-seated love, from this perspective, love as a factor does catalyze a woman's maturity.
Even if it disappears one day, she will not forget that someone whispered to her not to forget her original name.
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