The opening scene is empty, the ending is empty, the front and rear are facing each other, the cold and stern snow scene supports the cold tone of the whole film, the composition and photography are calm and dignified, but unfortunately the middle of the film is full of boring and boring clichés. The failure of middle-class marriages has long been the subject of rotten streets. In this world, the middle class is the absolute largest number, and is the main representative of the masses. On the road, there may be rich and powerful people who do not show the mountains and dew, and more must be the mediocre general public. The group portrait of the middle class is too easy to ponder and too easy to describe. No matter the country, the middle class seems to have the same face in the film. The typical characteristics of being masked are: no worries about food, clothing, housing, and transportation, bland work, lovers sharing different dreams, plus the character flaws that ordinary people cannot avoid and are magnified in the film. In different eras, they have never been pioneers or innovators. No matter in which era, the middle class gives the impression of being submissive and content with the status quo. "No Love to Complain" also created an image of a violent and selfish woman and an image of a weak and irresponsible man. Sadly, they are also parents - with a 12-year-old boy, their son. It's just this boy, not their angel, or even a tool for their reconciliation. In the selfish life of women's hair removal, hairdressing, self-portrait, and lingering with rich lovers, she revealed more than once that she hated her decision to give birth to a child. In the life of a man, it seems to be even more indifferent. The only time in the whole film that a man is in the same frame with his son is at the end of the film, when the silent man can't bear to slam the young child into the crib. The reason is just the boy Playing with blocks disturbed his interest in watching TV news. This boy, the result of him and his new love, is yet another sacrifice to maintain his decent job and ostensibly prove his family's harmony.
The boy's departure did not appear to be a surprise. The appearance of the grandmother explained the woman's cruelty and selfishness, but it was a bloodline. This boy is not the bond that maintains the family. The man and the woman have not been reconciled because of the son's departure. After the search was fruitless, the hostile woman intensified her resentment, and the man turned his tongue into the lotus in silence woman drove out of the car. The crying in the mortuary eventually evolved into a woman's grievance and anger, vented on the cowardly and incompetent man, and the marriage was completely broken.
At the end, the sky is full of goose feathers and snow, and the men and women who parted ways repeat their respective marriage tragedies. The immature face in the missing person notice on the telephone pole is like a borer, and no one cares. As for the arrogance and prevarication of the police, the bureaucracy of the investigators, the cumbersome investigative procedures, the perfunctory charitable organizations, men's fear of fundamentalist bosses, the endless social news on TV and radio, including the film's overall impact on Kerry The metaphor of the Mia dispute, the director seems to want to use a failed middle-class marriage to incorporate many criticisms and accusations of world affairs. For this society, there is no love to sue, but only grievances. On the whole, the whole film is neat and prudent, and the scheduling of shots, lighting, and tone processing are remarkable, but political innuendo is ignored. All are, inevitably make the audience who have watched Fengyue for a long time be surprised and make people feel lack of goodness. Whether it is the betrayal and unease surging in "45th Anniversary", the wishful thinking of women and the deaf ears of men in "Revolutionary Road", the unfathomable human heart in "American Beauty", the absurd black wedding in "Wild Story" , the story of a bitch and a dog in "Gone Lover", the middle class nailed to the pillar of shame can never get rid of the label of lies. They are good at lying, they are happy to lie, and they are tired of lying. They, maybe it's us.
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