This drama is about the inner drama of the female protagonist who is "unhappy watching the whole world, doesn't want to follow the rules, makes the relationship between the people around you mess up, then cry and isolate, and then apologize and ask for peace".
In fact, this is an extreme lack of security in the heart. Rebellion is used to express loneliness, and hurt is used to interpret caring. Because you are too young to go through this stage.
The person who scolds the heroine in the barrage only sees the surface, but what the movie wants to express is her inner contradiction. On the surface, he was cursing, but he was actually very sensitive on the inside. Dare to say that even if you are not like this, you have no such friends since childhood? It's just that most don't try to understand her.
Because he is not in the popular queue, there are naturally too many monologues and can only talk to himself. Enid is not beautiful, wears glasses, and is cynical. The blond girl in art class is the one that the classmates and teachers like.
This kind of people, because they think too much, or show their personality, they don't like the taste of most people. Only someone older than her could attract her interest, so-called precocious girls. It is normal to empathize with middle-aged Seymour, but he likes rich and tasteful Seymour. Otherwise, how did "Uncle Control" come from?
Seymour was a good man and kind. But Enid finds her way and needs to go alone.
So in the end, she just got on the bus that was out of service but arrived unexpectedly, and left without telling anyone. The camera slowly elongates, and there is only one car, driving to the sky, nowhere. Should be a good place.
But: Is the body liberated when it escapes? Or did it bring further action because of a change in thinking? So what does she want? Where is she going? Is it really possible to start over by going to a place where there is only one person?
Too many people, to varying degrees, want to escape from their lives. Movies satisfy you, but in real life you can never take this step. I can only watch a movie to soothe the occasionally restless flames in my heart, and I will go to work and take the children as usual tomorrow.
For example, the escape of each protagonist in Alice Munro's "Escape" always happens quietly, the seeds are planted in the heart, and gradually grow into towering trees. So the escape happened, and the people around were horrified. It turned out that everyone's heart was so unfathomable.
Or the twelve-year-old Frankie in Carson McCullers' "Members of the Wedding," an entire novel devoted to how she tries to escape the town and slip away in the middle of the night, imagining the Alps. Snow. Just like many people who are trapped in reality and cannot get out of it, the most tempting things are often the things that cannot be realized and cannot be obtained.
The film's escape also happens abruptly, and it dawns on me that it's just Enid's mere mention of Seymour. The reason it finally came true was that the old man who had been waiting for the bus gave her the desire to believe in something.
Enid left love and friendship behind, because before all these appendages, the most important thing was to find herself. For me, this is a self-discovery, self-growth film. The film just shows the process, not to fall into the clichés, "after a series of ... she succeeded" but to the audience's imagination. This is more fun.
No matter what movie, it is a good idea to leave a suspense and let the audience diverge and open their minds.
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