The middle few episodes will actually feel a bit procrastinated. If it is not a mini-series, I might have abandoned the show, but the first two minutes are really wonderful and make me have the patience to continue watching, but the last episode, I can only say, amazed.
The characters in the play are a bit strange, so strange that I don't think they are in real life, and because of this, there is often a strong sense of alienation. This sense of alienation also comes from the way the heroine breaks the fourth wall. But the amazing thing is that (perhaps I'm ignorant) this drama is the first work I have ever seen that combines subjective perspective and alienated narrative (breaking the fourth wall) so ingeniously. The subjective perspective narrative often allows the viewer to substitute themselves into the life of the protagonist. It is an important way to achieve empathy, so we can empathize. And the technique of breaking the fourth wall is completely counter-transference. It prevents you from substituting and keeps you in the act. In the process of watching this play, I have been acting out and have a sense of distance, but at the end of the last episode, I suddenly felt a strong sense of substitution due to the change of narrative.
When I think about it, the performance and reaction of each character is completely subjective of the heroine. The audience is looking at the world she lives in from the perspective of the heroine, and seeing the people in her life, everyone is not. He/she herself, but the image seen by the heroine. However, this subjective perspective was completely broken in the last episode. Each character began to look like himself, like a real person, not just a soulless image in the eyes of the heroine, which is purely a product of the protagonist’s psychological projection. What is broken at the same time is the narrative baggage (the truth about the death of a friend) throughout. The audience and the heroine went through a process of self-deception, unable to contact and communicate with the real world and the people around me. I always felt a sense of distance from the characters in the play and felt that they were not real people until the last state. be broken. The heroine is like a filter through which the audience sees the world, and she herself is protected by a pair of armor. She does not interact with anyone in real communication and is not harmed (at least she thinks so). In the last episode, we seem to see the heroine always live in a state of self-deception after the death of her friend, pretending that certain things have not happened, and in the end, this glass curtain wall was broken, and the heroine’s fantasy world was It broke, the cruel truth was revealed (for the audience and for the heroine), and the heroine returned to the real world. She began to have real contact and communication with the people around her, and that was very, very hurtful of.
All the people she loved and loved her, she hurt and hurt her, and in the end, the only person who gave her a little kindness and warmth was a stranger who scolded her for slut in the first episode.
A very impressive plot is that in the silent retreat manor, the heroine and a stranger (the character doesn't even have a name?) sit together and smoke, the stranger talks, and the heroine remains silent. When the stranger finished talking, the heroine said a word without facing the camera. This is the first time in the whole play that we have seen her take off her defenses and speak her own voice. In the previous plot, even if she was speaking to the audience in front of the camera, she was always in a defensive state. Sometimes this defensive state even makes the viewer (me) feel uncomfortable and disgusted. Just after she said this sentence, in the next shot we saw two people sitting side by side, both made a silent gesture, and no one spoke.
It was at this moment that I was confused, did she really open her heart to the stranger? Without the stranger's reaction shots, we have no way of knowing whether she really said that to the stranger. Or does she open her heart to the audience (me) and tell the truth? But her face is not facing the camera, nor is she looking at the camera. Or does this confession only exist in the imagination of the heroine?
Here, the ambiguity of narrative emerges, and this is the essence of narrative literature, which is why I think this drama is very literary and modern. There are many possibilities and ambiguities in interpretation.
I was stunned by this movie-watching experience. The technique of breaking the fourth wall can show such an effect, which I have never seen before and never imagined. And this is a unique technique of film and television works, and literary works and even dramas cannot achieve this effect. It is an ambiguous conspiracy of lens and performance.
In the end, you must praise the author’s play skills. The death of a friend has affected the story and the heroine from the beginning. The truth is revealed in the last episode. It is unexpected and reasonable to make this story a perfect one. The closed loop. There are also various foreshadowings and echoes, this work is simply too perfect in a certain sense, without a gap.
I don’t know if the author is consciously carrying out this kind of experimental creation that seems to me to be full of experimentation, or whether it is carrying out such a film and television narrative experiment after careful consideration. If it is, it is really too smart and talented. It must be in many This work is formed on the basis of research and thinking.
If it is instinctive and unconscious creation, then she is a genius.
Please take my knees.
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