After looking for a long time, there is no truth. More people talk about the movie "Truth" from Hirokazu Kore-eda's other family films, and I think "Truth" continues the spiritual core of "The Third Degree Suspect". In "The Third Suspect", the facts are reversed beyond recognition.
The truth is Schrödinger's cat. Once it falls into words, it's boring to write it into memoirs. More often it is a quantum superposition of 60% truth and 40% lie.
It was Hirokazu Koreeda who weaved the facts into the threads of motivation and stored them in memory. What comes out is a mixture of truth and lies, memory and feelings, family affection and humanity. This is called truth. It has nothing to do with facts, motives, memories, moods.
From the perspective of exploring the truth, the play-in-play structure of "Truth" adds a mirror image of the mother-daughter relationship of actress Fabilin from reality, and reality and drama mirror each other. The Seigner in the movie is both the actress herself and the movie plot McGuffin: Sara's prototype, more likely to be a stand-in for Julia Binoche. Everyone's multiple identities are superimposed, so a classic Japanese ambiguous story.
There seems to be no problem with the story taking place in France. The advantage is that the structure of the text is too complicated. If the Japanese's habit of talking about his lines is used, it will add a veil to the confusing truth. A lot of Japanese ambiguity is saved in the direct cultural background of the French lines. The disadvantage is that such an ambiguous family relationship requires a Japanese-style careful and sensitive physique to fully feel it. After the opening exhibition in Venice, the evaluation of this film went up and down, and the audience listened to the ramble for two hours.
Ethan Hawke is purely a soy sauce in the movie. The first half of the role of Catherine Deneuve was probably written by Hirokazu Koreeda and Grandma Shirin, but the second half was only nominated for eleven Caesar Award heroines.
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