While the logic of the viewer is confused by means, the inner logic of the movie must withstand scrutiny. We can not hide our love for such a movie, such as montage, although there are many flashback applications, but it is a good series of "logic destruction" tasks, which can naturally confuse the audience, and it does not seem to be too artificial. The sound effects are not bad, but I personally think that it would be better if you don't use so many sound effects-at least it won't let the audience enter many expectations that are not conducive to the movie itself. This film should, at least, have the meaning of a little confession. Although the film has revealed that Henry’s parents’ death has nothing to do with Henry himself (assuming that the doctor Sam is telling the truth), the stay between the living and the dead is very important. Henry blamed himself very much when he heard the news that his parents’ fiancee had left before him. This can be indirectly proved by the wall of forgive me. The suspense of the sound of the film is too strong, diluting the melancholy of self-blame, as if it was designed to play tricks on the audience. It would be even better if it could highlight Henry's mood in the film.
I don't know if the director likes Freud very much, or appreciates David Linch's "Muholland Road", even the female No. 1 casting is the same as Naomi Watts. But Marc Forster's cultivation of Freud is not as good as David Linch. The two films chose "substitution" based on the theme of dreams (to be precise, Stay is not a dream, but an illusion), that is, Sam and Henry often exchange personalities. This subconscious manifestation is in a sense to ease and escape one's own reluctance, or unwillingness. In Stay, Henry brought himself into the post of a psychiatrist and tried to treat Henry who wanted to commit suicide. This constituted the main theme of this "Stay"-liberation and being liberated. The retention of the fiancée is turned into the nurse Naomi Watts, such as Athena and Naomi's face overlapped, and Sam (Henny) tried to find Athena. In addition, the head and tail echoes the reality, the main body nested and deduced the virtual technique is relatively suitable for this kind of movies, and the effect of confusing the audience should be the best. Traditional movies have a progressive model, that is, the climax comes gradually as the plot unfolds and deepens. But the nested model requires a strong cohesion between the head and the tail, that is to say, the causal relationship must be strong, so that the subject is virtually sandwiched in the middle, and finally when you look up, it suddenly becomes clear and becomes a body. But this film cannot make people feel that it has a self-sufficient internal logic. Perhaps you can explain it this way: the perception of dying before death is relatively "weakly empirical." Unless there has been a similar experience (not dead), it is difficult for the audience to have a sense of identity. They can only use dreams or hallucinations to draw on the impression. But in many places, individuals seem to lack persuasiveness and are suspected of misleading the audience in another direction. In the same way, Mulhollando misled the audience to approach its reality step by step.
After watching "Mulholland Road", there is a deep fear. What are you afraid of? It felt like just waking up from the most terrifying nightmare, and then I was very grateful that it was just a dream. Before I had time to fully wake up, I was afraid that the unusually real dream was reality. And "Stay" at the end of the film is best for the audience to sigh for Henry's checkmate. It's a pity that the previous suicide declaration, the pale and sick face, the ghostly figure and the arrogance revealed by the lines... Anyway, I can't build more sympathy on him.
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