When I was in a drowsy sleep, I vaguely felt that Ou Rong had achieved a good relationship with Nolan through this film>_<
Ou Rong and Nolan are both my favorite directors, such a YY, I’m laughing in my dreams XD
reminds me of Nolan because of the layering of the film's weaving, which is as crisp as a thousand layers of cake. . .
Claude had a keen interest in his French teacher and, perhaps partly due to the loss of his mother at a young age, further had a more complex interest in his wife. But this is an unusual family with artistic appreciation, and it is difficult to play this game well by peeping at them directly. To peep into a home, one must find an entrance. Peeping at the entrance of this literary family and approaching their bait is precisely the peeping itself. Slowly, Claude found the Rafael family as a springboard (which also made him enjoy himself), and finally realized the ultimate voyeur on his "beloved" French teacher. In the process of film development, we found that such an interesting chain of voyeurs slowly formed: (<== means that the former was peeped by the latter)
[Ordinary Rafael family <== Claude in his own literary works The incarnation of <== French teacher's family <== snickering Claude]
uses the voyeuristic psychology of the French teacher's family to peep at them, which is doomed to the climax of this film-because we the audience like to peep, not to mention It is said that this unprecedented peeping of skin layers. . .
I have an urge to analyze how Claude's literary desires are satisfied layer by layer: the
first is to peep at their home itself. But just observing itself can no longer satisfy Claude, nor can it satisfy the French teacher. It's just a pointless satire, with no purpose, no obstacles to reaching it, so there's no dramatic conflict, so the characters' personalities can't be brought to the surface, and the family is just a superficial harmony , which is indistinguishable from what Claude first observed. ——So this kind of peeping stimulation is no longer strong.
So on top of voyeurism, Claude has one more task: manipulation. No purpose creates purpose, no conflict creates conflict. The thrill of this secret manipulation is on top of peeping. He also let himself fall in love with Rafal's mother, and he slowly established some kind of connection with Rafal's father, and slowly induced Rafal's same-sex love and jealousy. Throughout the process, Claude kept stirring the relationship within the family, allowing everyone's desires to be vented. At this time, the most satisfied is the French teacher, Claude, who is his guide, and he is the stirring rod. The appetite of the French teacher and his wife is growing, and Claude is actually constantly satisfying this curious literary couple. But Claude's own real climax has yet to come.
When the French teacher was helping Claude manipulate the Rafael family, he didn't know he was in it (by doing unprofessional things like stealing exam papers), or rather, he knew he was in it. Claude is equivalent to manipulating the French teacher by manipulating Rafal. Moreover, Claude is really an excellent director. He is very good at taking advantage of the opportunity and chose the day when Rafael caught a cold to hand over the paragraph of Rafael's suicide plot to the teacher.
Then there's the real bullseye of the game: the French teacher's wife, a literary woman Claude has never met. Compared to all the previous things are just foreshadowing. Compared with the normal version of the Three Kingdoms Killing, this is the upgraded version.
The director paid a lot of attention to the wife of the French teacher. A very attractive woman with a high artistic taste, not very proud of her business, and sometimes cute. Before Claude knocked on their door with her suitcase, Claude had been remotely teasing her. Rafal's mother is just a cover. Claude writes about Rafael's mother, poetically imagined. Claude wrote that Rafael's mother revealed a hazy love, and the French teacher read this text to his wife, "She was sitting on the sofa, and the color of her hair matched the sofa." The wife is sitting reclining on the sofa, and the color of her hair matches the sofa. To some extent, she has sat in the center of the stage. These words are actually a very romantic and high-level love letter. A woman accepts this seemingly casual compliment, and she imagines her own beauty imaginatively. Then, including Kerry's watercolors, etc., are "casually tailored". The French teacher's wife, Jenna, did not disappoint Claude. Her literary literacy is actually higher than that of the French teacher, and she has a natural sensitivity to these things. She received a message from Claude over the air.
When Claude stirred the Rafal family, he also swayed a pool of spring water in Jenna's heart. Writing about Rafael's mother, Claude fell in love with her and asked her if she could elope. Jenna thought from the point of view of Rafael's mother, of course a mother of such a harmonious family would not elope with a little kid. but! "I don't have any children! I can do anything I want!"
Claudra came to Jenna's door with a suitcase, knocked on the door, Jenna opened the door, and looked at Claude, who was plain looking: "You must be It's Claude." This scene, over and over in my head, is, for me, the real climax of the whole movie. Jenna's actor is really amazing. When she saw Claude, she actually wondered who he was, she was surprised, she thought I was finally looking forward to you, and so many layers of psychology, her expression, the footage given by the director, all gave This scene is filled with an extremely rich sense of layering and rhythm. This scene is really amazing, it gives people the kind of satisfaction of building a bridge across the sea and finally connecting both sides of the bridge. Then, he can finally ask her directly about the child, continue to mess with her mind, describe how she fell asleep on the spot, and then, finally, find his own ending and achieve the ultimate goal - using his literary talent, continue Enter the room.
Hearing Claude laughing outside the door, the audience laughed even more in front of the screen. . . As a oriole, Ou Rong has used such an advanced method to tease us rogue audiences who are somewhat voyeuristic. Should we give him a toast
? -------------------------------------------------- -------------------------
I want to say that there is another kind of pleasure in this world that Claude has never experienced, and that is - being played Pleasure, the pleasure of losing everything for a secret impulse. Just like the French teacher did for him. I am writing in YY, in the future, will Claude be played by a Claude 2.0 that was born out of nowhere. I'm not worried about him. On the contrary, if I can really meet such a master, Claude will be played to death with a smile.
-------------------------------------------------- --------------------------------
Why did the director choose a little kid like Claude?
A middle-aged French teacher, with a family, a career, all of which are lost in one day in the movie; and a kid like Claude, He has nothing to lose, and he has youth protection laws and things like that Something makes him do whatever he wants. While children play with adults, counter-attack movies like "Fruit Hard Candy" have always been the theme that audiences like to watch, with the small over the big and the weak over the strong (the audience just likes to watch it, they think "Fortunately I didn't get caught by one" Children play till they die").
In addition, the young author of this age, everything is still learning, he needs the guidance of an elder (and then unknowingly kills the elder). A young author at this age can still fall in love with a woman much older than himself. So arranging for a kid of this age really gave the director a lot of room for imagination!
-------------------------------------------------- ------------------------------------
There is a setting that is very, very interesting, the script chose and this movie Mathematics, which has nothing to do with it, was used as an entry point for peeping at the Rafael family; and when Claude got tired of it, he said: I don't want to continue writing, I think I should continue to learn mathematics. This is to realize that both hands must grasp the arts and sciences, and both hands must be hard hahaha, in this play, mathematics has become the basis for realizing the first level of voyeurism. If I do an over-interpretation, I can say that it is this meticulous scientific thinking that endows Claude with rationality and even cruelty, and destined him to have a slightly higher level of desire than ordinary people.
View more about In the House reviews
