"Rich" is my experience of this light-language movie. Not every light comedy is full-bodied, and not every movie with a female protagonist is full-bodied. The protagonist Raimunda played by Penelope Cruz's calmness in desperation, and the non-sexual desire in her eyes, make this richness last longer.
Taking women as protagonists is a risk. I recommended "Floating Flowers" to a friend. The young artistic man pursed his lips and said, "I don't really like a movie that is all women." Usually, women as a condiment look better. It's not because women can only drink, but women are really good-looking.
Good to see that it is difficult to be the center of speech.
This difficulty exists not only in movies, but also in other forms of expression. The trouble for a woman is that once she is at the center, she can't help but expose the "defects" that conform to the habitual thinking of everyone (including the woman herself). There are still masterpieces of "Red" and "Blue" dealing with a woman's spiritual world; dealing with a group of women is really tricky. If you do not sink into the noise, you must also sink into the narrow.
Woman, her essence is softness, and her appearance is trivial. Softness is not weakness, but flexibility between rational choice and perceptual intuition. And flexibility comes from trivial. But who will give the trivial a place? In an age when mainstream myths are eager to be grand or practical.
If the intention of "Floating Flower" is not here, it is also inspiring. I remember the beginning of the film. The first time I laughed was when Raimunda was dealing with her husband who was killed by her daughter, and the neighbor man knocked on the door. When she opened the door to talk to him, the other person asked, "Where did the blood come from your neck?"
Raimunda wiped it casually and replied, "Ah? Oh, it's the big aunt here." (Mike's translation is really amazing. )
At this time, there was a burst of laughter from the women in the small theater. The two men on my left and right were motionless.
The great thing about "Floating Flower" is that while it constructs the integrity of a world where men are ignored or rejected, it doesn't make too many comments on men. For an unfortunate life, neither a man's badness nor his absence can stop the functioning of a woman's life.
With a violent, fast-dead rhythm, and the sins caused by the two women's last attachment to a man, the conflict is pushed to a climax. The ending is a way out in the form of disillusionment, but there is no way out. In "Floating Flowers", women's logic operates quietly independently of the vocabulary and principles defined by men. Fragile life and private language, humorous superstition and ignorant fluke, care for conscience and awakening of family affection, all infiltrate women's thoughts, in a trivial and stoic manner.
Women, even conspiracies are trivial. Raimunda’s mother could burn her husband and mistress to death for four years; Raimunda’s daughter could stabbed her with a knife and was powerless against the corpse when faced with her father’s assault; and Raimunda herself concealed her husband’s body in the refrigerator. Start the restaurant business next door.
On the surface, the man was handled with ease. In fact, men are still the root cause of women's situation. But it is no longer the reason why a woman is a woman.
I have to admit that using a woman to describe human nature is still much more difficult than using a man. This is really a problem that is even more nerve-racking than a woman.
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