In a common sense, this is another ultimate proposition. "Love" is actually the bioelectric effect of a few neurons. It is the same for peers, juniors, and elders. Whether Aligar fell in love with Gan Huade or was imprisoned by her mother like a wife in love with her husband. Personally, I don’t think Aligar has any ordinary conceptual love. She has a relationship with Gan Hua. De's love sometimes tends to extreme control, sometimes extreme inferiority, unwilling to show it, jealous, and unpredictable. When Gan Huade passively accepted Ali Jia's masturbation, his expression was incomprehensible and helpless, which seemed too far away from Ali Jia, who was talking about music aesthetics in high-class society before. However, people who like something "elegant" will really like "elegant" sex? Later, I saw Ai Lijia rushing up to give Gan Huade an oral sex, but vomited. I can only deeply feel the perversion, which is more perverted than cutting off a penis in the sensory world, than taking a fish hook to hook myself in a drifting bathroom. The vagina makes me feel perverted even more. And the letter she asked Gan Huad to read before her directly reminded me of Thad.
Piano is another
five famous piano-related films since the 1990s, leaving aside
almost more favored by some of the Oscar, then
Schubert // Schumann // Brahms
Oh Schubert! I have to admit that Schubert’s works are less accepted by me. Aligha is fond of such talented works, and he has a good grasp of the cooperation between the piano and the singer in the art songs. However, Schubert is a genius who died young. The constant emphasis on Schubert in the film seems to be an obsession for this fleeting feeling. Alika, who lives like an old virgin, is not cute in reality. It's not that she doesn't want to love. She can only love Schubert, who has been dead for a long time. In it, she frequently mentions Schumann, which is also the last spirit. Abnormal poet and composer, this trance state coupled with Brahms's perennial crush on Mrs. Schumann Clark, hehe, I think this may be the preference of the original author Jelinek. It's better to forget Schubert, forget those crazy relationships.
Sexual oppression and psychological conditions?
I said how Alika’s appearance is familiar to me. Later, I read the article about quoting the Fuchsia theory, and I realized it, right, isn’t this a girl in the fourth and fifth grades? Well. That also has a male psychology, and the understanding of sex can only be through the age of peeping. At first I thought she was a very courageous person, who could swagger into the sex shop among a bunch of big men, could have sex in the gear room of the hockey team unscrupulously, and could turn around and rape her mother. . But what if she is at an age where there is no taboo? It is a child who has not yet grown up that would be jealous that the student whom he had taught was amused by Gan Huad, and that he would use a trick to abolish her. It is more common to say that it is a kind of sexual oppression. In the original book, Jelinek zoomed in on the destruction of women by the elite society, but in the film, the director Haneke seemed to narrow the cause to the mother and tried to weaken the cause. Maybe it's because I'm afraid that the two-hour period can't say this thing well, no wonder Jelinek himself is not satisfied with the final screenwriter.
Lens + details
It was mentioned above that Haneke weakened his mother's high-pressure policy towards Ali Jia, but there are still many small details in the beginning of the film suggesting this phenomenon, including asking about the time to return home and tearing up the fashionable clothes that Ali Jia bought. The shots in the film are quite calm, there are few subjective shots, and the composition is very particular. The setting is generally an exquisite hall, not magnificent but very clean, not luxurious but elegant, generally the foreground and background are the characters to be emphasized, the middle shot It's relatively empty. On several occasions, Haneke arranged for someone to speak in the foreground, but the person in the background appeared to be a sneaky person, which was clear in the camera. The camera position in the film is basically not? The
ending
seems to be more ambiguous. Aligha was supposed to go to stab Gan Hua De, but found that Gan Hua De had abandoned the morbid appearance (at least on the surface) that he had when she raped her. She returned to her original youthful enthusiasm. She seemed to feel that something was missing. Then she stabbed herself. This knife was really not heavy, neither crippling nor letting herself die, and Haneke gave it back in the end. The scene that made her swagger out, Ai Lijia walked out of the camera, people coming and going, everything was the same.
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