I should have stopped here, but I'm still going off-topic, which is not emotionally pleasurable and fun, but rather annoying and unintelligible.
In a sense, Baroma and Honey are a pair of mirror images (hedgehogs), both of which are actually isolated from others in a "hiding" posture, forming a small inner self-sufficient world (in the posture of hedgehogs). The foundation of this mirror image is based on a universal value of "pan-humanization", so in the thinking of two people, "life and death" is an important category (Paloma decided to die on his birthday). ;Imagine having a heart attack, jumping off a building, taking antidepressants, cutting the abdomen - and Honey's real death is a car accident that they met together, beyond Baroma's imagination; Honey's self-defense, low-key life posture; Honey death). Here, the film abstracts away the antagonisms of political and economic factors—class, income—based on identity.
This opposition is shown in the film as a kind of spatial politics.
The first is the construction of the apartment: the concierge and the occupants on the ground floor. Rigorous separation between floors is observed: in this upper-class apartment, this strict separation manifests itself in a well-mannered upbringing, such as Baroma's mother not letting the cat out and the concierge in. In the film, the up and down elevators seem to constitute a channel of communication between the upper and lower classes. In the film, only Honey, Mr. Ozu, and Baroma are seen riding the elevator, and the communication between them has become a loose class (even if it is false). )metaphor. The spatial configuration of the apartment corresponds most directly to the class identities of the characters.
The second is the contrast between the apartment and the street. The main scenes of the film are all in the apartment: Honey's concierge's hut, Mr. Ozu's Japanese-style home, Baloma Bourgeois's home, stairs and elevators. On the contrary, there are only a handful of scenes outside the apartment: the street corner outside the apartment (less than ten meters) (Honey eventually died on the street corner - a very interesting metaphor), the laundry (where Honey is dirty because of the dirty Clothes scolded) - The brief scene where Honey and Baroma go to the laundry together is literally the beginning of a thrilling journey. Taking the image of the film's title "Hedgehog", the apartment takes the form of a "hedgehog" in the opposition to the street (the world outside the apartment), which is also the expression of the mentality of the residents of the apartment: independent from the outside world, A stable bourgeois world. This world's mentality of defense against the other side and self-sufficiency of opposition is structured under the thorns of its political economy.
Then there is the contrast between East and West. This antagonism is manifested in character relationships such as "Paloma, Honey/Mr. Ozu". The arrival of Mr. Ozu brings some kind of "redemption" possibility to Paloma and Honey in predicament: the dialogue between Paloma and Ozu, the game of Go between Paloma and Ozu, and the exchanges between Honey and Mr. Ozu , Ambiguous feelings (in this plot, "Happy homes are often similar, but each unfortunate is different" in "Anna Karenina" is simply a passphrase.)
The arrival of Ozu, as well as the elegance and sincerity of the East (with a Western imagination), brought about a tangible change for Baroma and especially Honey, figuratively speaking, let the hedgehog drop the thorns of defense and become. can be touched. The role of Mr. Ozu in the film is worth pondering - he is at least a symbol, a symbol of the East in the Western imagination, intelligent, kind, calm, elegant, and polite. The representation of such symbols can be exemplified as follows: Ozu, Ozu's home, Japanese restaurant, Japanese food. And the connotation of this symbol directly points to the scarcity of the Western world—the kind of scarcity that caused the plight of Baroma and Honey, and the same kind of deprivation that brought about the imagining of the other, the East. There is only one place in the film that shows distrust of the "Oriental Imagination", that is, Paloma's assumptions about her future destiny when she is playing with Mr. Ozu's granddaughter. Through this assumption, it can be found that the inhibition of human nature and the possibility of people's choice exists in the East and the West, and it is not different between the East and the West. In fact, this imagining of the other has a nostalgic feeling—the East as the other is actually not an independent freedom, but a reflection in the mirror of a distant West.
Similarly, in terms of the relationship between space and gender, traditional films generally express this relationship as "Western, Male/Eastern, Female". In this film, this heavy relationship is reversed, that is, "Western, Female/Eastern, Male". From a feminist standpoint, the film uses men to foreshadow the redemption of women, which is still a traditional patriarchal perspective. In this contradiction and tension, the vanishing perspective of the white male (the white male in the film is represented as a castrated figure: the man of the bourgeoisie, the mad tramp), while appearing powerless, is always staring at state of being—after all, this is an imagining of the other, only to fill one’s own shortcomings, or to create an empathic effect.
Finally, there is "the inside and outside of the hedgehog", that is, Baloma's room (hiding place), Honey's gatekeeper (especially the book house) and the world outside. It is a secret space built on vigilance and distrust, in which the brilliance of humanity shines: about personal choices, about life and death. In this sense, what really constitutes a contrast in the film is not the image of the goldfish in the tank and the hedgehog spreading its thorns, but the inside and outside of the hedgehog, the defensive hedgehog and the hedgehog available to pet—in the In the tension between the two, the "elegance" that the film tries to express comes from this. Baloma, who carefully arranged her own death, did not die (on the contrary, her life has just begun, as Honey said, "May your future match your expectations"), and Honey, who saw hope in her bleak life, was caught by a car. banged to death.
It can be said that Honey must die, one is to die in place of Baroma, to complete her imagination and satisfaction of death, thus forming a hint of life; It's not death or life, but what are you doing when death comes?" For Honey, at the moment of death, she saw her lover smiling, and it was too late to start loving at the moment of death.
Well, good film, with a touch of good mood, pretty good.
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