Similar to Lynch's classic "Mulholland Drive", Ou Rong blends the heroine's reality and fantasy together, and many clips with Lynch's style are amazing. The scene of jumping out of the car and fainting after seeing the phantom driving late at night is obviously the scene of the male protagonist transforming into the "Monster Night Panic". And the gift box with bloody animal entrails, the cat brooch that appeared twice before and after, and the eccentric female neighbor, many of these details and secondary characters are unconsciously stained with Lynch's unique mysticism.
In order to fully express the heroine's schizophrenia, the director skillfully uses a variety of "mirror" pictures or character relationships to constantly reveal the heroine's inner projection. The most obvious thing is the fantasy of the male protagonist. She is between two twin brothers, which just hints that her lust is constantly wandering between repression and release. The spiral staircase in the clinic, the multiple mirrors and the scenes of the art gallery constantly reproduce the scenes of multiple heroines on the same scene. In the scene where she fantasizes about having sex with her twin brothers, a strange two-headed man appears even more amazingly. . All these elaborate visual spectacles are actually paving the way for the mystery to be finally revealed.
In the second half, the heroine visits the victim girl many years ago, and the scene of the dialogue with her mother is simply a replica of "Mulholland Drive", and even the relationship between the heroine herself and the girl on the sickbed seems to be a secret reference to "Mulholland Drive" "The mirror relationship between the two heroines. In terms of imitating Lynch's style labels, Ou Rong is indeed careful.
However, the biggest criticism of the film is the substandard script. I believe that audiences who have watched films about schizophrenia or mental illness will be familiar with the plot routine of this film, which led to the reversal of the ending and failed to set off too much climax. After all, this is still Ou Rong's favorite love story in the past. It feels like the director caught a theme by chance, and then continued to stuff many genre films into the script. In addition to the mirroring technique mentioned above, there are also the gimmicky scene at the opening and a lot of frightening soundtracks. Through these sensational methods, the film's visibility and commercial significance have been greatly enhanced, but the gender awakening consciousness that has been discussed in the past has been unexpectedly lost (except for the abrupt insertion of a nasty plot of gender inversion that seems to be unrelated to the theme, but far Less powerful than the end of the Portuguese director's "Calling for Love in the Heart of the Cemetery"), unfortunately reduced to a less advanced erotic thriller.
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