still in the mirror

Edison 2022-03-27 09:01:14

I feel more suffocated than watching the Autumn Sonata, probably because I feel more strongly about my father's accusation in the family of origin... It's really amazing to be able to tell the deformed family relationship so clearly in 1.5 hours, at the end of the father and son scene The play made me have a complex psychology of fear, worry, and pity. In the end, love is actually possession, curiosity, and torturing each other. If my sister hadn't left, how could he look at you, just like if his daughter never got sick? I won’t accompany you for a few days. This so-called family relationship is just a cumulative curiosity. Everyone is trying to get closer and keep a proper distance. Once you cross the line, you can’t go back. Will the nightmare-like inheritance stop? ?

Michael 2022-03-27 09:01:14

The weather and surrounding transitions in the desert island theater are metaphors for the mood swings of the characters. The names of the characters seem to establish the power relationship between them at the beginning of the film (David-Minus, Carol-Martin), and then the analysis of the four life purpose is also the torture of their respective "God" - father cares about the novel , Carlo cares about the call, Martin cares about Carlo, and the younger brother cares about his father's dialogue. People's belief in their "God" is filled with Job-like suffering for no reward. In the end, the spider/"God"-like helicopter took Carlo from the island, and the safe haven (circle) that the characters depended on collapsed one after another - Martin burst into tears and chose to follow, his father regretted the lives sacrificed for the novel, Milos hears a response from Father/God...and Carol has to be chosen by the "God" she believes in. He claims to have seen some more sophisticated stories, but still wants to sigh, no one else can bury the foreshadowing as hard as Bergman, huge and sharp, like a long dagger straight into the heart.