Dreyer photographed things that don't exist, everything that happens in the present also happens in memory, and memory is like a burning fire. After Gertrud closes the door, we can only continue to picture her sitting in a chair, perhaps with her unfocused gaze and subtle smile. Like The Word, Dreyer blocks our viewing through a closed door, shutting death inside.
We see Gertrud sitting on chairs of different materials, sizes, and styles in different poses, the men who surround her or sit with her (but facing in different directions), or lean on the armrests to pray, or Stand on the back of the chair and look down, near or far, if not far away. What Dreyer photographed seemed to be a dream that didn't exist, Gertrud's figure was like a ghost, and at a certain moment she appeared in the reflection of the mirror, or reflected on the wall by the light, just as she stopped briefly in ours. in sight, but then gone forever like dew. For example, in the morning dew, in the past, there is much suffering.
In one banquet hall, she thought the lights were too bright, and in another scene later, she blew out the candlesticks on either side of the mirror. It reminds me of the women in the Truffaut films who go crazy for love and end up suffering from eye problems. And in Gertrud's case, we see that she eventually learns to balance reason and love, or more precisely, she begins to learn how to study love. So love eventually becomes some kind of transcendental existence, like a miracle, that cannot be spoken of, but the belief in it is always there.
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