In the one-and-a-half hour story, revolving around the relationship between Rhoda and John after the car accident, the motif of atonement and forgiveness becomes the main line of the film's narrative. In contrast, the interspersed parallel universe and mirror theory are more like arguments for argumentative papers. 's evidence. Explaining the simultaneous development of "Earth II" and the consistent running trajectory of the pen, it is more like using a mirror to reflect the fragility and uneasiness of the human heart in reality, thinking about the relationship between itself and the shadow, so the film is full of this dialectical all the time. The metaphor of the film is repeated, and the expression of this point of view is repeatedly strengthened by the way of narration: "Will we meet ourselves? Is that me better than this me?" But the film does not explain the reason for the mirror image of the earth from beginning to end. , instead trying to transfer this confusion or answer to the audience itself through the protagonist's own behavior, which seems to imply that every feedback is an answer to this question. For example, in a scene in the film, Rhoda and John are playing a fighting game. The characters on the screen are their own shadows. The content of the game has not been given to the camera from beginning to end, but they have been watching the movements of the two protagonists. It becomes an off-screen interpretation: rather than you controlling the character on the screen, you are being controlled by that character.
For [Another Earth], the addition of sci-fi elements just provides a means, a way to try to clarify the dark corners that cannot be seen between human beings. However, as the whole narrative goes down, the film finally explains the choice of Rhoda and John to leave and stay, and after Rhoda encounters another scene of himself, the expression of the whole theme is still kept secret, or this kind of unknown feeling is What the director needs, so he uses a documentary-like approach to present a cool-toned image style, and then hides abstract metaphors in casual narratives. Finally, in this feature film composed of dialogue and long shots, science fiction is just an excuse to cover up this sense of unknown. No explanation at all is the best explanation. All the answers exist between talking and not talking, just like the whole film. The tone of the film, the mysterious elements encapsulate the plain original intention, except that Sundance will favor such independent small films, ordinary audiences will only fall into the polarities of extreme liking and ignorance.
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