(It got 8 points, I'm so pissed off.) "The Phantom of Neon Clothes" offers a possibility of love. Not just between classes: a designer who tailors dresses for high-society royals and aristocrats, and a waiter working in a country restaurant. It is more between ordinary people (even laymen) and geniuses. Daniel Woodcoak, played by Day-Lewis, is certainly a freak. It's hard to say what is the cause and effect of his unique talent in clothing design, his loneliness and paranoia, and his morbid attachment to his mother. However, such a person with an elegant and self-disciplined life and a quirky and stubborn personality is swayed by a rude and stubborn person. The movement of breakfast was captured by the waitress riding a horse in the room. The necessary condition for the establishment of love is that she can understand, understand everything he poured into the clothes, and understand why it is so important to understand who wears the clothes and does what. She rudely broke into other people's homes and stripped her clothes almost as something more important than herself. Love is blind and decisive, but it must all be based on a wise mind. As early as Mr. Lu Xun's "Death of Sadness", we learned that love must always be renewed, grown and created. While Alma tried to regenerate the surprise that growth had created for him, Woodcock was on fire: he couldn't be changed, never try to break his rules. He doesn't need mediocre happiness, not even happiness. When mortals can't reach genius in creation, and can only sew among female workers, it seems that love needs a little poisonous mushroom. She found his weakness, and when his body rested, his mind was as sensitive as a child, undefended to show her his softest, weakest, most submissive side. In this gap, she finally found her own value that could not be replaced. She is needed. In addition to her flat figure, which he liked, it is indispensable that she understands his needs. She must be needed. Just as artists have to sleep in bed, geniuses have to eat. At the same time, she is self-aware that she has to accept that she can't change him (prepare him a birthday surprise, break his ideas, try dishes he doesn't like) or herself (she still eats loudly and behaves rudely, likes frivolous hilarity). The footage of him frantically looking for her on New Year's Eve still brought tears to my eyes. It's hard to tell if he was dependent on her out of possession or out of a child's tantrum, anyway she left him distracted and he couldn't work well because she was important, even if his sacred order mess up, mess up his noble house. Maybe out of love, he started to need her. People call the poisonous mushroom episode sadomasochism. But I think Poisonous Mushroom is just an artist's self-esteem, a kind of tenderness that wants to keep her: on the one hand, he is willing; on the other hand, he hopes that he is innocent. The real thing is that emotions are unpredictable, and much like being sick, we may feel how desperately we need someone the moment before, but then see that person again. At that moment I felt why would I need such a person? I don't need anyone. It is between these two moods that are constantly fluctuating, whether they are mortals or geniuses, they are willing to endure the torture of life and love.
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