Zweig said: "The most unforgivable thing is to be forced to wake up from sincere enthusiasm and realize that the person who had put all their hopes on them was the one who let them down." A long confrontation with a dramatic closed space and a frontal conflict. The mechanical sound of the factory disappears immediately with the roar of the door opening and closing, and occasionally flashes back, and the scene changes caused by the male protagonist avoiding the boss's reprimand, all create a natural division for the dialogue. The narrative adopts a girl's perspective that is very different from "Lolita", starting from the other end of the deviant relationship and asking questions over 15 years. Of course, Humbert's relationship with Lolita has more deceit, coercion, the fervent solitude of one's gratification and the constant escapism of the other. The relationship here is covered with a warm color of warmth through memories, and the two lovers can trace back until the separation of the hotel night abruptly. 13-year-old Oona asked: "Ray, where have you been? What happened? Why did you leave me? Ray, can you hear me? I love you." The absurdity of the matter lies in the fact that Oona has "intelligence beyond her own age", and is willing to use her body to please each other because of her deep love; the law punishes the adult's crime with four years in prison, and the girl has been in prison for more than ten years after completing the legal process. He licked his wounds, unable to forgive him for leaving without a word. She couldn't even change addresses, and her relationship with her mother was estranged, making it difficult to establish an intimate relationship. She still loves him, hates him, wants to see him, wants to punish him, wants to get him back.
But we don't know what motivated the love to begin, or where the meaning of love in the 13-year-old's head came from. Is it self persuasion in confusion? Or, the vague sense of dependence is marked as love by the other party, and it is regarded as love. As for what to do when getting along, just imitate adults. The only certainty is that all of this prevents Oona from having any sure and secure attachments for the rest of her life. And for the adult man who defines love in the girl's mind, what he enjoys may be just indiscriminate desires, like the new and dislike the old, and it is fleeting. Mr. Lei tried to separate himself from the pedophile, and insisted that he did not want to escape when he left the hotel that day, but just had a drink to calm down, but when he returned, he found that she was no longer there. Oona is hysterical, but always awake. She is aware of the other party's weakness and wandering, and knows that there is essentially no difference between "fleeing" and "failing to return in time". When the two embraced, caressed, and breathed naked, Ray interrupted her. After her failed request, she raised her voice and asked, "Is it because I'm too mature?" The life situation that Ray tried to cover up finally had nowhere to hide at the end-credits dinner. In Oona's view, Lei's stepdaughter seemed impossible except as a new "prey". Ray catches up to Oona, who runs out the door, and says, "I haven't fallen in love with any girl since you. Only you." How much can we trust someone's words? Are all the details of love that can be recalled, refined and sublimated in the final analysis, are they just cyclical desires themselves?
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