It was the first time that Zhang Zhen approached Gong Li. There was no panoramic (depth of field) narrative shot, only a flat, display "spectacle" composed of close-ups.
In the next shot, Gong Li is directly presented by a mirror, which hints at Lacan's theory of mirror identity. What she represents here is a "vulnerable child" who is in the imaginary world and has not yet acquired language. Let the audience (voyeurism) stare. The flat frame with almost no depth of field joins the "spectacle" nature of the previous shot.
But "Hand" is also feminist. It ridicules the irrationalization of men's lack of sex and the control of women over men through the absence of the female object, although the emphasis here is on the superiority brought about by women's biological sex. , but ultimately achieved the dominance of women over men.
In the end, Gong Li refused to Zhang Zhen, but only used "hands" (one is to replace the female genitals, and the other is to reject with hands) to complete the final ruling ceremony.
However, the irony is that in the end Gong Li surrendered to Phileas.
By substituting the traditional culture of women as objects of observation with men's bodies, Wong Kar-wai created a subversive sprouting.
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