This also perfectly explains the whole film from beginning to end: when her partner is no longer youthful and ill, her husband never leaves her, taking care of her with the focus and patience that makes the concierge "hats off". According to the way she wanted, in the home that gradually filled with the smell of the grave, she tried every means to accompany her slowly through the final journey. Of course it's because of love.
But this love is not love. Because what love depends on cannot be separated from the body: beauty and beauty, charming bones and delicate body, all are the beginning of the growth of love; even if the hearts and minds are like-minded, the most straightforward and reliable performance is of course the love of the bed - just like in the film The daughter said that when she was young, she heard her parents' sexual intercourse, and she was sure that they still loved each other. That is the proof that love can show. Now that aging has caused them to lose physical communication, the mind becomes the only emotional fulcrum. So when the wife lost her senses in the kitchen for the first time, the husband immediately panicked: this situation of speechlessness to him was a crisis that had the potential to completely cut off the vein of love.
Yeats's "When You're Old" has already been composed into a street comedy, but in countries without religious traditions, few people realize that the premise of loving gray hair and loving aging and wrinkles is because they identify the one who is loved. Man has "the soul of a pilgrim". Haneke, who was born in a Catholic country, can easily wield this kind of "detachment", because in that context, the dualism of human spirit and flesh has a long history: the body of the body will eventually decay and perish. Only the soul is immortal. Nor does life mean more than the continuation of physical existence. As long as a person leaves the imprint of his soul in this world, then he can have eternal life—in the hearts of those he loves, in the hearts of those who love him.
It is precisely because he loves her arrogant and sensitive soul, and her self-respecting and obsessive soul, that he obeys all her wishes, does not send her to the hospital, does not expose her embarrassment of aging and powerlessness to outsiders, and does not let her unwilling to see. Goff walks into her ward (by contrast, the students she's proud of come to visit and help her with a facelift), quit the nurse who's making her sad, read the newspaper for her, teach her how to speak after she's lost her speech ...she said that he was "a monster, but gentle" at heart. Now he is really as stubborn as a monster, doing everything possible to keep her for one more day, one more day, but in the end, the painful moan still aroused his tenderness, first used the story to calm her down, then , let go and send her away.
At this moment, love inspires a person's greatest courage, making him dare to cross the forbidden line of law, bear moral criticism, and even bear the blame of the world behind him, and make the choice of not being at the mercy of creation-he can no longer let She continued to suffer, and liberation was already her own intention.
In Haneke's rational to ruthless world, love can only happen and function so "logically". Perhaps in his eyes, aging, disease and death are just a "fun game" imposed by nature? Although medicine has progressed, and the husband has faithfully realized that "love is enduring and kind," but in the end, in the face of nature's ruthless and unreasonable destruction of physical life, the most effective way to resist is violence.
Inheritance is the end of the knife: the daughter walks into the room where the physical life of the parents has disappeared, but cannot meet their spirits. This is the Haneke view used to show the indifferent family: blood is not the cause of love. Or even, in some ugly souls, blood provides an opportunity to extract and inherit evil from each other (such as the priest who beats his children in the name of discipline in "White Ribbon" and the mother who imprisoned his daughter's spirit in "Piano Teacher"). Because blood is nothing but a connection between bodies. If there is blood in the flesh, but without the compatibility of the soul, there will still be no love. Those distortions and pinching each other in the name of love are in fact the product of estrangement and self-interest.
Therefore, Haneke chose this moment of separation of the soul and flesh to verify whether the lover is obsessed with the interdependence of the body or the co-preservation of the soul. In the eyes of reason, taking this step is transcendental love. With it, people can end their "limitation" and step into the eternal unknown.
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