I never imagined that this film has only one scene and two characters, which can be said to be a play within a play, relying on the inversion of the relationship between the characters to start the plot. In the conventional perception of an erotic relationship, it seems that the person holding the whip is a firm S, and the person kneeling by his side is M. Is that true? It has been suggested that S is transformed from M. Only after experiencing the masochistic pleasure can S transform M's pleasure into his own pleasure, that is, S is satisfied with M's masochistic pleasure. In this film, the male protagonist surrendered to the heroine on the surface, but in fact he surrendered to his own desires. The heroine played an S to help him continue his childhood sexual fantasies. On the stage of the theater, not only two people were in the mirror, but the heroine helped the hero to complete the sexual release performance. On the surface, at the beginning, the male protagonist suppressed the female protagonist who was a low-level actor by virtue of his own identity. From the moment the male protagonist helped the female protagonist take off his fur, the male protagonist exposed his inner desire to be abused. In the mid-term, the female protagonist successfully integrated SM into the drama, and the male protagonist seemed to become her slave. Just after a third of the film, the male protagonist knelt down for the first time and promised the female protagonist "Go to the center of the stage, I will give you unlimited and permanent power". Wow, ordering the heroine to go to the center of the stage not to mention, but also emphasizes that she will give the heroine power. So, the inner thought of the male protagonist is: I allow you to tease me at this time, and allow you to help me complete my performance. In essence, the female protagonist's S power is bestowed by the male protagonist, giving her to please him. There are also some interesting conversations. "Why should I abuse the person I like." "Abusing me, I will sink." The heroine takes advantage of the male protagonist's attributes. The heroine's stimulation of the male protagonist is not her desire, but her livelihood. The male protagonist is completely submissive to his inner desires. The heroine understands very well in her heart that "the more he (you) talks, the more he controls". There is also an interesting detail, the heroine orders "You give me quiet, give me birch... (raises the fake wooden stick in the air) Do you hear the hiss? My only desire is to hear your moans. Feel the Mr. Kushsky that I long for, crying like a girl, my heart is beating in my chest. The air is so hot. What did you do, what did you do (whipping the male protagonist)?" When questioned The male protagonist shrank back, pretended to be whipped three or four times, dodged the whip, and asked back like he was just waking up from a dream, "Wait, wait, what are you doing?" It should be said that the situation is beyond the imagination of the male protagonist. Does he think there should be no substantive punishment? Or will he get out of control? The film ends with the female protagonist in fur dancing naked, and the white, blue and black lighting brings out the morbid beauty. The camera pulls back through a door, continues through another door, and exits through multiple doors, implying the end of the theater performance to the audience. As a one-act play that lasted for an hour and a half, "Venus in Furs" was reproduced from a gender perspective, with more complex artistry.
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