Rooney Mara (Rooney Mara) did not get the Chinese title of the two films in a row, but what really made me frown was the newspaper announcement of "Una", the title keywords are always concentrated in "C milk, milk ring" , live eroticism", it seems that if everyone does not do this, there is no way to attract attention.
Foreign films often use a person's name as the title because the character represents the focus of the story. "Carol" is a deeply fascinated object, "Una" is a person who is constantly tormented by the past.
Rooney Mara is good at playing misunderstood and hurt women. The scrawny back muscles symbolize the torment she endured. The nipple rings in this play are not used to serve the eyes, or just to show the protagonist's indulgence, but to point out that she uses more pain to transcend the pain, and uses the sinking to get rid of the stigma of the past. It's yet to be determined who the terrifying old lover is. Una sounds like the Chinese pronunciation of "stigma", and the male protagonist changed his name and surname afterward, from Ray in the past to Peter.
An obsessive woman is often called a mad woman, especially if the object of her questioning is a man who seems kind, has status, and is emotionally stable. In this society, it is easy to judge that crazy women are vexatious and their remarks are not credible. Ben Mendelsohn does a pretty good job of interpreting the hero, his seemingly honest expression softening the audience all the way to the edge of morality: he "really" loved Una, who was then a minor.
The film is adapted from a stage play, and the character tension has been tempered, but the language of the film is also quite interesting. Where Una finds Ray's work, the shot goes from Una's eyes to Ray standing in front of a warehouse shelf. I found screenshots from the Internet that others did not know where. This scene is very symbolic. Storage is the stack of memories. Two people often walk between the shelves, or hide in a space in the storage area to talk, looking for a certain memory.
Most of the people in the first half will believe what Ray said: he is not a pedophile, but he truly loves her, and is completely open and honest with his current wife. Suspicious clues, the audience may have to watch it a second time to clear the foreshadowing.
The last scene is a big turning point, and Una, who doesn't give up, chases Ray's new home. Some people may curse in their hearts: Stop making trouble with crazy women, let the other party live a new life. Una borrowed an all-white dress, like a run-down doll. Ray went home and changed to all black on the top and bottom, to cover up the original honesty and integrity of the plaid shirt. Una then accidentally breaks into a fantasy princess house and is projected in the mirror like a ghost.
When the little master of the room came back, although the conversation was very concise, the truth was clear. Una finally left with the answer, and the last scene was pulled, and there was a black figure behind the window on the second floor of the house.
This is Rooney Mara's home movie, proving once again that she is a calm and reserved acting school. I hope she can have more works that she can give full play to. In the future, filmmakers and media can make less fuss about her body and talk more about her acting skills.
On the same scene, "Unbelievable Crazy Woman", everyone reflects on the prejudice against women who have been violated.
"Hard Candy Trap" (2005): Ellen Page (Ellen Page)'s attitude towards pedophiles is more than Runima pull more intensely
"Death and the Maiden" (1994): Sigourney Weaver (Sigourney Weaver) bite Ben Kingsley (Ben Kingsley) is a rapist. The work of Roman Polanski (Roman Polanski), I don't know how he felt about his case when he filmed it.
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