Can a warm expectation

Ian Gray is a PhD candidate in molecular biology, specializing in the evolution of the eye. At a party, he meets a mysterious masked girl (Sophie). With the beautiful eyes of the girl in his memory, he finds her, and the two fall in love. Although the two have completely different basic beliefs about life, they have not affected their feelings at all. When Sophie dies in an accident, Ian turns to her experimental partner Karen. Years later, Ian and Karen make a discovery that may shake their scientific creed... In all fairness, such a story isn't that compelling, and the ups and downs of the plot and the progression of the story aren't much moving, but the story wins In the novelty of the structure itself and the angle and way of speaking - in the gentle rhythm of the first half, the visual effects of light and shadow and the auditory effect of the soundtrack are fresh and pleasant, and Sophie mentioned fate and death several times in the dialogue, All seem to be laying the groundwork, and the hidden worries extend beyond the story without knowing it. So that the viewer can easily turn this fresh feeling into the pain and regret in the second half of the story, and then the story accelerates the pace, after a series of exploration and pursuit, in a warm light and shadow, in a tearful embrace , gently tossing an Easter egg - isn't it clever?
The iris is a unique and lifelong identification feature of human beings, and at the same time, the eye has the impression of a "window to the soul" in our established concepts (fingerprints are not, although fingerprints are also unique and lifelong). Of course, the meaning of the iris is probably more than that. In the debate between theists and evolutionists, "Darwin mentioned his fear of the eyes" (it is conveyed that after Darwin proposed the theory of evolution, he was still concerned about the sophisticated mechanism and sophisticated structure of the human body. lack of sufficient confidence due to evolution, the eye being an important example) has always been the usual weapon thrown by theists - so use the inner iris of the eye to unearth the wonder in research, and later touch the existence of the soul and reincarnation Perhaps, the story is better told.
The film itself seems to have some concerns, so in the process of telling the story, there is no consistent belief in a certain concept of theism, but mixed with the Christian system of divine creation, destiny and selection, and the Buddhist system of reincarnation and reincarnation. In fact, these contents themselves are not compatible. In the midst of hesitating to speak, I thought that I would complete the story of "theism" and "reincarnation" that are negated by today's science, but because of some concerns, I had to say it again after the so-called "easter egg" was thrown at the end. stop. It seems that because of these two concerns, the film is still only restraining its storytelling, not necessarily "overthrowing science by storytelling", or even "determining religious beliefs" by doing so. In fact, he is noncommittal about two aspects: about Darwin’s fear of eyes, the film allows scientists to really study the way to produce eye substances; about the fear of elevators at the end of the "Easter egg" "Woolen cloth? In fact, Ian has tested Solamina's characteristic habits before, and the ratio of matching with Sophie is more than 40%. Even if you add the fear of elevators, it will only be higher than 40%. much, still within the margin of error. So, outside of movies, there are some "philosophy at the end of science, and theology at the end of philosophy", "religious films made in the name of science fiction films", and even an incomparable condemnation of a certain monk - all of which I have Think it's boring, some joy is frivolous, some anger is contrived.
My concern is, as the movie says, how exactly are we going to place some of our content? For example, our debts and regrets, our care and love? Like Karen owes Ian and Sophie - what if she didn't make that call when they were stuck in the elevator? Ian also owed Sophie - he hesitated and refused in his heart; "Am I going to live with such an overly childish person for the rest of my life?" Sophie was killed immediately. What's more, his love and longing for Sophie: If all this is nothing but never again, is it too cruel? This story is talking to us about a hope, a thought (but not a certainty and truth):
What if your explorations and discoveries make you feel the need to question and deny the worldview you've held on to in the past? Yes, if it is just a simple world view, it can also be determined by belief. But what if this questioning and denial also involves the people you love? Does it still exist after his/her death? Or, in what form? Can these give you a warm expectation? Can it make you think of another warm possibility?

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