In recent years, French movies have begun to show no restraint on the exposure of sexual organs, such as last year's Apenée, three-person nude skating, the joy of male genitals (I agree with this), and some series of realism. Nudity is acceptable to us.
However, Ou Rong's first push reminded me of "window water baby moving", a documentary that makes women uncomfortable (I hope you all go to see it). In order to match the style of this film, it is necessary to deconstruct this film The emerging image of female genitalia: the
vagina, as a female sexual organ, its sociality is the channel for reproduction, and the individuality is the channel for sexual intercourse. The vagina forms the natural relationship between men and women. A dildo is an extension of a vagina (or an extension of the absence of a phallus), similar to McLuhan's view that the media is an extension of the human being. (Because I don’t know why you keep mentioning Cronenberg, how is he similar to Cronenberg, most of Cronenberg adheres to the idea of Mc. People are talking about it. And this sentence has nothing to do with the movie, don't watch it.)
The double-faced lover is no longer the Ou Rong who entered the room. The twin sisters in a woman's stomach caused her to develop hysteria. This kind of hysteria is not mysterious enough. Refer to "Enchanted". Intersex people say that they have been protecting themselves since childhood, which is different from ordinary people. (I actually read this)
The best thing about a double-sided lover is: who is a double? Women, men, or all suffer from the idea of a "twin pregnancy." The idea of "jumaux canibales" (one twin is stronger than the other and absorbs the other's nutrients completely.) Although it is a bit old-fashioned, it is thought-provoking whether the communication between the fetuses is really important, and whether it is really right. Affect human growth? However, Ou Rong focuses on suspense and plot, but not enough research on human beings. In the end, when cloe was in the hospital, her mother hugged her and said, "I only love you because you are my only daughter." This way of over-explaining is always repeated in Ou Rong's films, such as making the entrance to the room pale ( subjective thoughts). And what does it mean that the heroine always puts her hand into the flower pot and buckles it twice? What does that weird old woman next door mean? Or is the acting of the actors and the acting of the plot both automatic, auto-interpreter, anti-plot?
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