Many people describe Steve's Oedipus complex as Oedipus, and I think the relationship between mother and son is a combination of ambiguous and contradictory.
Diane has a strong attachment to Steve, mostly between family and love. People who usually live at home and often get along with their mothers may understand that when your mother slowly becomes your good buddy, or even a confidant, the emotion is very ambiguous. As the only person who understands you under one roof, love speaks for itself. But because of the role of mother, and unable to cross the thunderous pool, a complex emotion was formed.
Although Steve is cheerful and interesting, he is short-tempered and has just come out of a mental hospital. He has no friends; his mother is also a maverick. hurt; or Steve chooses to resort to violence and gets scolded by Diane when he comes back.
The interaction between the two is fun, it's always been rowdy, and most of the time it's really painful. Dolan uses the 1:1 format to express the oppressive life, uses the splash screen to express the uneasy heart, and uses the large overexposed color blocks to express the melancholy, which is very experimental.
When Kara appears in front of the two, their relationship is finally reconciled. Kara has a good relationship with her mother and son in private, so she has become a lubricant in mediating them. As their relationship progressed, the screen ratio instantly returned to 16:9. There are two screen-to-body ratio restorations in the film, both of which are Steve's happiest moments.
In the end, Diane sent him back to the mental hospital in order to prevent the "devil" in Steve's heart from continuing to hurt himself. When the doctor fights with Steve, Diane can't help but want to rush forward, and this entanglement runs through the film.
However, the hospital couldn't heal Steve, and he rushed to the window with his longing for a better moment.
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