The so-called naturalism means that the film is full of analogies, metaphors, and concrete images drawn from nature (such as the ash tree that makes all trees jealous, the big fish and flying insects, the gorgeous red reeds, the predator, the leopard, the cat, the lion. etc.) to keep the film alive and natural. The ash tree that accompanies my father repeatedly, the walk in the suburbs, the collection of various leaves... The intimacy with nature also implies the nature of sex, which also makes the tone of the film very fresh.
The way of narration seems to be random but it is painstakingly, and each caption has a small introduction: the romantic nature bible - "The Skilled Angler" and the seduction skills of women; cake forks and femininity; a portrait of a woman and family ethics Poe's "The Fall of Usher" and his father's death; Bach's polyphony and the three lovers (just by playing church music like Bach's harpsichord in the sex scene, this film is shocking enough to be unique one frame). The director's skills are very skilled, and ordinary audiences like me, although I don't know why, can also feel the style with ease from the rhythm and color of the pictures, music, dialogues, and first-class works are always natural and sincere.
Another interesting point is that this is not a story that is being generated, but a memory and narration between two people. In the film, the listener's suspicion and denial of the narrator make the film a bit of postmodern deconstruction. color. - "Do you know what you're doing? You're defending your personality, and I thought you were just trying to tell me." There are also questions about the authenticity of the story: "nonono...what you say is too coincidental ".
This is also where the director is very clever - taking his own place, and presupposing an audience for himself, he is a Jewish scholar, profound and humane. When Joe said that he was sinful, he retorted, "I don't see where you are guilty...Why do you use the most ruthless concept of "sin" in religion? Let it transcend religion and survive?" The mouth of the family is really smart.
Of course, the film is not without moral condemnation of the heroine. The third chapter Mrs.H used a dark humor to subtly condemn the heroine's ruthless practice of playing with other people's feelings and destroying other people's families for her own sensuality. It can also be fun to shoot under heavy moral constraints. This chapter reflects the director's mastery of the film's style and ease of transition.
The "showy" part of the film is naturally the analogy between Bach's Fuge and the three lovers. Why do analogies and introductions make this film so special? In "A Dream of Red Mansions", in the section on exploring the pros and cons of spring prosperity, Baochai said: "If you don't take knowledge as a reference, you will be in the world." That's why I call it an "intellectual" erotic movie.
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