The road movie is really a great creation. Not only does the speeding car hit the sheets, the dog's blood is mixed into the chicken soup, there is no sense of disobedience, but even science fiction carries philosophical thoughts and produces a nihilistic spiritual flower. Brilliant. Once you are on the road, you always have to choose a direction, whether to roam or wander, it is really a problem. Roaming is rational, and wanderers are always full of entanglements, vowing to confirm what they have learned on the road, and to taste the colorful life situation. The wandering is emotional. The wandering people continue to sacrifice their bodies and minds, waiting for the momentary beauty of the epiphany in the twists and turns of the winding path. The movie "Under the Skin" is adapted from the short story Michel Faber's novel of the same name. In the film, the American goddess Scarlett Johansson "paints the skin" as a female alien who drives a truck all day long. Roaming the majestic but lonely Scottish Highlands, trapping a lonely earth male. If the skin of the goddess is beautiful, it must also rely on words to blend the soup of ecstasy. The film begins with the female alien's "babble". Although "she" has learned thrush and red lips without a teacher, she has to practice more in the way of chatting up and flirting. You must know that it is not easy to tighten the net of desire without properly sending the hints of words and makeup into the hearts of men. There are many lonely and enthusiastic men on the streets of Glasgow. From kindly guiding the way to taking a ride, it only takes a few words from "her". Then, go to the "Desire Cabin" together, step on the exotic ecstasy drum, watch "she" lightly untie the Luoshan, follow her steps, and the sex gives the soul to the room. Men don't realize that they have fallen into desire forever. The abyss, unstoppable. At this time, "she" didn't understand the style, and she didn't know what "people" were. At the moment of the first test of the skin, "she" once caught an ant. It seemed that she felt something, but she was confused and ignorant. However, after the technique of temptation has been practiced proficiently, the "real body of chaos", which is from an alien planet and is neither happy nor sad, under the skin, is gradually woven into the "under the sky of discourse" of human beings. A rose with love pierced a tender hand; fell on the street and opened "heart eyes". The joys and sorrows of human beings are suddenly put in front of the eyes like a picture, and they are already dazzled. However, the destined "Quasimodo" still finds this postmodern "Ai" from aliens at this time. Smeralda". Capturing the desires of this ugly youth with multiple fibroids was a piece of cake. He, who has never been close to the opposite sex, has long been unable to distinguish the real dream in the face of the beautiful skin that makes countless lonely men fascinated. It's not that he didn't have doubts, he pinched himself, he didn't dare to look directly, and when he looked back, he seemed to smell a trace of "death". But after stepping on the heart-pounding drumbeat, there is no turning back, and it reaches the deep pool of unrecoverable desires. Hugo's Quasimodo is a symbol of inner beauty, while the "Quasimodo" of "Under the Skin" is as insignificant as an ant. But this ugly alien body echoes the situation of "her", and neither can get a place in the world. Leaving "Desire Trapped", "she" moved her sympathy for the ant-like "similar" for the first time, and for the first time looked at the existence of this skin in the mirror. This scrutiny allowed "Quasimodo" to escape, and fled back to the city naked like a baby. Although he inevitably ends up being violently captured by other aliens, this murderous roam comes to an end. Wandering starts from a boundless fog. In the fog, the roaming hunting truck has no way to go, and "she", who is free from the tracking of her companions, starts a journey of feeling and epiphany. "She" tasted the cake and couldn't swallow it; "she" felt kindness and felt uneasy; "she" played with her skin and was pleasantly surprised. Oh, and comedy and music, and "she" moves with it. When "she" finally walked down the steep and long stairs of the abandoned castle with the help of the kind-hearted man she met on the way, wouldn't the human desire for her sink into it, and wouldn't it be reconciled? It is a pity that the epiphany moment of this wandering came a little too early, and gentle love and tyrannical sex followed one after another. The former, "she" has no skin, but it is difficult to achieve good things; The latter destroys her skin and burns her "real body"; but the one who refuses to die is already a real "woman". In fact, the word "skin" is a free translation, but the skin in the film is definitely not a "painted skin". When "she" picked up the torn and broken skin, the familiar and unfamiliar face that had appeared in the mirror was still trembling like an ant. Maybe this skin is "color", and the real body is "empty"? Since the color is not different from the emptiness, and the emptiness is not different from the color, the raging fire ignited by the logger who tried to rape, really made "her" disappear, turned into a puff of green smoke, and fell into a white land. clean! Whether it's a sci-fi movie or a road movie. There have never been fairies and ghosts in this world, and there is no need to take aliens too seriously. Extraterrestrial perspective and torture in desperate situation are nothing more than to force out the foundation of human nature that "if you don't clean it up, it will be chaos". However, what the director has cultivated is clearly a flower of pessimism (or cosmic consciousness?). Think of the previous generation road film master Wenders' "Under the Berlin Sky", there are also two transcendents in the film. They are not from an alien planet, but angels cast out of heaven. They have witnessed the birth and development of human beings, and they hate the endless wars of human beings, but they are still unwilling to give up human beings! Even one of the angels would rather give up his immortal body and walk around the world with a mortal fetus, feeling the truth and experiencing love. In 1987, when the film was filmed, the Berlin Wall still stood "under the Berlin sky", but the love of human nature can make angels willing to "sink". Wenders' poetry and meditation are obviously full of hope and enthusiasm. "Under the skin" but "cold to the end". In fact, "her"'s "babbling" and "self-consciousness in the mirror" are both classic passages in psychoanalysis. Human desires are born from scarcity, but scarcity is due to structure. Desires have no day to be filled. The zero degree of deprivation of "her", although she has no mental structure, is gradually invaded by the skin (and the words), and it is like a baby giving birth to human deprivation. It's a pity that the director's cold blood is comparable to an alien hunter, and the faint light of humanity awakened by "her" in the rape disappeared like a meteor. At the end of the film, the goose feather snow rolled down, and the blue smoke of "her" was submerged in the vast white snow together with the desolate earth. And this, is it not the ultimate destiny of mankind? Human problems, of course, can only be measured on a human scale. But to put it aside, the goddess Scarlett Johansson's "sacrifice" performance in this film has obviously not been praised by people. The "natural plumpness" she showed in the film made the otakus who were used to watching "Victoria's Secret Supermodel" shouted out. But after tearing off the skin, the "alien real body" that "she" jumped out was skinny and plump, comparable to "Victoria's Secret supermodel". Is this for the authenticity of the performance, or is the director intentionally teasing hints-maybe alien life is not far away, just in the center of the runway? Think of the previous generation road film master Wenders' "Under the Berlin Sky", there are also two transcendents in the film. They are not from an alien planet, but angels cast out of heaven. They have witnessed the birth and development of human beings, and they hate the endless wars of human beings, but they are still unwilling to give up human beings! Even one of the angels would rather give up his immortal body and walk around the world with a mortal fetus, feeling the truth and experiencing love. In 1987, when the film was filmed, the Berlin Wall still stood "under the Berlin sky", but the love of human nature could make angels willing to "sink". Wenders' poetry and meditation are obviously full of hope and enthusiasm. "Under the skin" but "cold to the end". In fact, "her"'s "babbling" and "self-consciousness in the mirror" are both classic passages in psychoanalysis. Human desires are born from scarcity, but scarcity is due to structure. Desires have no day to be filled. The zero degree of deprivation of "her", although she has no mental structure, is gradually invaded by the skin (and the words), and it is like a baby giving birth to human deprivation. It's a pity that the director's cold blood is comparable to an alien hunter, and the faint light of humanity awakened by "her" in the rape disappeared like a meteor. At the end of the film, the goose feather snow rolled down, and the blue smoke of "her" was submerged in the vast white snow together with the desolate earth. And this, is it not the ultimate destiny of mankind? Human problems, of course, can only be measured on a human scale. But to put it aside, the goddess Scarlett Johansson's "sacrifice" performance in this film has obviously not been praised by people. The "natural plumpness" she showed in the film made the otakus who were used to watching "Victoria's Secret Supermodel" shouted out. But after tearing off the skin, the "alien real body" that "she" jumped out was skinny and plump, comparable to "Victoria's Secret supermodel". Is this for the authenticity of the performance, or is the director deliberately suggesting that alien life is not far away, just in the center of the runway? Think of the previous generation road film master Wenders' "Under the Berlin Sky", there are also two transcendents in the film. They are not from an alien planet, but angels cast out of heaven. They have witnessed the birth and development of human beings, and they hate the endless wars of human beings, but they are still unwilling to give up human beings! Even one of the angels would rather give up his immortal body and walk around the world with a mortal fetus, feeling the truth and experiencing love. In 1987, when the film was filmed, the Berlin Wall still stood "under the Berlin sky", but the love of human nature can make angels willing to "sink". Wenders' poetry and meditation are obviously full of hope and enthusiasm. "Under the skin" but "cold to the end". In fact, "her"'s "babbling" and "self-consciousness in the mirror" are both classic passages in psychoanalysis. Human desires are born from scarcity, but scarcity is due to structure. Desires have no day to be filled. The zero degree of deprivation of "her", although she has no mental structure, is gradually invaded by the skin (and the words), and it is like a baby giving birth to human deprivation. It's a pity that the director's cold blood is comparable to an alien hunter, and the faint light of humanity awakened by "her" in the rape disappeared like a meteor. At the end of the film, the goose feather snow rolled down, and the blue smoke of "her" was submerged in the vast white snow together with the desolate earth. And this, is it not the ultimate destiny of mankind? Human problems, of course, can only be measured on a human scale. But to put it aside, the goddess Scarlett Johansson's "sacrifice" performance in this film has obviously not been praised by people. The "natural plumpness" she showed in the film made the otakus who were used to watching "Victoria's Secret Supermodel" shouted out. But after tearing off the skin, the "alien real body" that "she" jumped out was skinny and plump, comparable to "Victoria's Secret supermodel". Is this for the authenticity of the performance, or is the director intentionally teasing hints-maybe alien life is not far away, just in the center of the runway? "Under the skin" but "cold to the end". In fact, "her"'s "babbling" and "self-consciousness in the mirror" are both classic passages in psychoanalysis. Human desires are born from scarcity, but scarcity is due to structure. Desires have no day to be filled. The zero degree of deprivation of "her", although she has no mental structure, is gradually invaded by the skin (and the words), and it is like a baby giving birth to human deprivation. It's a pity that the director's cold blood is comparable to an alien hunter, and the faint light of humanity awakened by "her" in the rape disappeared like a meteor. At the end of the film, the goose feather snow rolled down, and the blue smoke of "her" was submerged in the vast white snow together with the desolate earth. And this, is it not the ultimate destiny of mankind? Human problems, of course, can only be measured on a human scale. But to put it aside, the goddess Scarlett Johansson's "sacrifice" performance in this film has obviously not been praised by people. The "natural plumpness" she showed in the film made the otakus who were used to watching "Victoria's Secret Supermodel" shouted out. But after tearing off the skin, the "alien real body" that "she" jumped out was skinny and plump, comparable to "Victoria's Secret supermodel". Is this for the authenticity of the performance, or is the director intentionally teasing hints-maybe alien life is not far away, just in the center of the runway? "Under the skin" but "cold to the end". In fact, "her"'s "babbling" and "self-consciousness in the mirror" are both classic passages in psychoanalysis. Human desires are born from scarcity, but scarcity is due to structure. Desires have no day to be filled. The zero degree of deprivation of "her", although she has no mental structure, is gradually invaded by the skin (and the words), and it is like a baby giving birth to human deprivation. It's a pity that the director's cold blood is comparable to an alien hunter, and the faint light of humanity awakened by "her" in the rape disappeared like a meteor. At the end of the film, the goose feather snow rolled down, and the blue smoke of "her" was submerged in the vast white snow together with the desolate earth. And this, is it not the ultimate destiny of mankind? Human problems, of course, can only be measured on a human scale. But to put it aside, the goddess Scarlett Johansson's "sacrifice" performance in this film has obviously not been praised by people. The "natural plumpness" she showed in the film made the otakus who were used to watching "Victoria's Secret Supermodel" shouted out. But after tearing off the skin, the "alien real body" that "she" jumped out was skinny and plump, comparable to "Victoria's Secret supermodel". Is this for the authenticity of the performance, or is the director deliberately suggesting that alien life is not far away, just in the center of the runway?
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