Relive the old 1989 film, "Sex, Lies, and Videotape" by Soderberger.
Some people say that the lawyer inside represents a lie and the lover is true. The lawyer's false marriages and exaggerated sex, the lover's orange-red wild beauty, the wife's cross-white sexual repression, and the video tape gray, are eyes seeking truth.
I think Söderberg is more than that. Under the suppressed lust, the photographer said, you don’t know who I am. Should I tell all my life so that you can understand what I am doing today and my past. Consistent? The wife said that all the people who entered your time and space have affected you today. You think this is your problem. In fact, it is not.
Maybe I want to say that the camera seems to be peeking into the real eyes, but the real is so vulnerable, and you who are broken are nothing. But Soderbergh said in a noble manner, we want to be real and we want to be pure.
Enough, there are very good reasons why I don't like this movie.
We often live in difficult situations, right? We want to know the truth, but the truth is always unbearable for us. What can the movie save? It's just a vain increase in the tension of reality. Compared with Chislovsky’s "Red", it can be seen that in the latter, the director’s wisdom is asking an extreme question. In such a hypothetical test, let us think about the plight of life. In such a question , The subjective expression quietly disappears.
The dilemma is a question. In "Red", it is also the dilemma of protection of lies and real harm. But we still cannot make a choice. Just like Aristotle’s definition of a tragic character, the nature is understandable, but there are flaws and small mistakes, so that the tragedy caused can truly resonate, not the suffering of the extremely good, and the extremely evil. Of the law. Because we can't make a choice amidst such character contradictions and predicaments.
Choose a moral explanation for people, either naive or arrogant. Even the camera tapes are unreal, isn't it? Pieces of facts are pieced together to form a real illusion, that's all.
The wife is sexually loyal to her husband, but she deceives herself. The pursuit of security makes her deceive herself again and again. She feels that the husband, photographer, and herself who understand are nothing but lies. The image of each person in the psychology of others may be just a lie, but the lie may be constructed by both sides. The me you can see, the me you understand, the me I show, which one is not a lie? ?
It's just that we have been pursuing the truth and cannot avoid the lies, and we have the splendor of tragedy.
You are too arrogant, Soderbergh.
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