Short hair, except for the whole film without makeup when attending the reception - what exactly did Ou Rong want to tell the audience with Wacote's face? I look at Wacote's face, the eyebrows, eyes and nose are all going to the pinnacle of exquisite, mature beauty, and the mouth, by Louis. Call it "greedy" mouth - it's unisex. Further down is a rather masculine chin, square, flat, powerful, and slightly cracked. A face that is perfectly balanced with feminine sophistication and proportions mixed with masculine features—all true beauty is androgynous. In fact, as long as there is a little makeup, the masculinity of Wacote's face will be very inconspicuous, because the eyebrows and eyes are too attractive, you have no chance to notice her masculine and powerful lowering, and the shape is not as good as we thought without lipstick. Such a delicate mouth. I watched "Flower Rongyue" three times, but I didn't have such a sense of sight. On the contrary, because of Wacote's extreme female beauty, many people said that she was not mature like the post-90s generation - but Ou Rong deliberately let us see her and her. , short hair, plain makeup, masculine. Ou Rong's film is always reasonable no matter how strange it is. In "New Girlfriend", gender seems to be separated from the soul, and "Eight Beauties" interprets women's psychological deep seabed needles. But this time, his interpretation of female psychology has exceeded my ability to identify with my own gender—or in fact, it has nothing to do with gender at all. Twins are sisters or brothers, love is two people or oneself and oneself, sex is either gender insertion – if every character is asexual – devouring isn’t just about the same genes. I haven't seen through the point of "Double-Faced Lover", but Ou Rong's intention is clear - this is probably one of the reasons why I love Ou Rong: such as gender, age, status, relationship, everything is change - people Just man himself. Back to the film itself. Layer upon layer, things get more and more complicated - the lost cat, the creepy neighbor, the living dead Sandra and her swearing mother, the confused love, and finally the gun is aimed at herself, and the "baby" tears Chloe's belly. Then Ou Rong's painting style changed to tell you: all this is just Chloe's split fantasy. In the face of this, at best, the ending of a social news event. Are you surprised, disappointed, angry, and then shouting that Ou Rong's hands trembled and made a big mistake? Then Ou Rong did it - what he wanted to tell was never just a story.
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