every stage. And this kind of change should be accompanied by the plot, rather than a scene that can be completed in a few seconds. In the film for more than ten minutes, Jeanne's face is half Sophie and half Monica, and the facial features of the two beauties are blunt. collaged on one face, becoming weird and ugly. This completely unreasonable shape, but outsiders are not surprised by the changes in the heroine, the repeated changes in characters and environments, have blurred the boundaries between reality and imagination. In the film, De Fan actually quoted the method of "psychological reproduction". Like many successful thrillers, what the audience saw was probably just the heroine's illusion. Including her own appearance, the appearance of her mother, husband and children, family background, etc., Jeanne must search from her childhood birthplace, just like a psychiatrist's hypnosis, to find herself from the depths of her memory. What "Don't Look Back" does is to photograph this process, the confusion between the subjective and the objective, the coexistence of the real and the illusion, and the reunion and separation of the soul and the body. This is a good script, but it's a pity that Defan's handling is too magical, and it seems to be showing off for the sake of showing off, confusing montage and narrative. Sometimes the audience needs to figure out their own causal logic and fill in the loopholes. This idea of finding the secret of family history is very similar to the early Almodovar, especially the passage where Jeanne recognizes her birth mother from the photo and resolutely travels to southern Italy, which becomes the real turning point of this suspenseful story. Audiences who are familiar with such topics can already guess the origin of the matter, and gradually accept the director's way of handling it, and it is much easier to state it from the perspective of a girl. In contrast, Almodovar's suspense is clear and neat, and it can create magical effects through dramatic techniques without magical stunts. De Fan's "Don't Look Back" appears to be "mechanized". As a commercial film, the biggest selling point of the film is the "showdown" between two top European beauties. Since only a woman is changing in the film, there are not many rival scenes. One person and half of the plot are evenly distributed, Sophie plays the first half, Monica plays the second half, and there is only one eye contact at the end, which can be regarded as the completion of the "handover ceremony" of the soul to the body. As for who's acting is better, each fan has his own judgment. Personally, I think that Sophie has more doubts and fears, and has more and heavier roles to play, and the audience's emotions are also mobilized along with her psychological performance. After Monica went back to Italy to search, the story was smooth and clear, and with the flashbacks of childhood memories, there was not much space left for performances. What is most talked about is the process of making Na's face change. The reconstruction of facial features through 3D technology, and the delicate makeup of the eyes and bridge of the nose, let the audience experience the most complete and detailed "face-changing magic" in the history of movies. It turns out that beauty is also a "true lie". It is a pity that relatively conservative French film critics did not agree with the painstaking efforts of director Marina DeVine, and did not give face to the two female stars at all. The evaluation of "Don't Look Back" after its release was not high. It should be said that the audience is still very curious about such a suspenseful subject. This is not a plain boring story. The alienation of the actor's body even has a cult flavor, which is a rare attempt. However, this is the problem. When people see "Don't Look Back" as an art film, they feel that the director and screenwriter are convoluted and show off their stunts; while the audience sees the film as a commercial genre, they cannot fully accept its expression, lacking in simplicity and easy-to-understand. narrative logic. Perhaps the expectation was a little high, and the final box office did not have the expected ideal. But it's too early to give the next comment on the two actresses. After all, in order to cooperate for the first time, the two of them performed very hard. In the years when the charm still existed, using this "shattering" showdown to leave traces on the screen, it already took a lot of courage, and it was worthy of the fans' pursuit and infatuation for many years. . It is a pity that relatively conservative French film critics did not agree with the painstaking efforts of director Marina DeVine, and did not give face to the two female stars at all. The evaluation of "Don't Look Back" after its release was not high. It should be said that the audience is still very curious about such a suspenseful subject. This is not a plain boring story. The alienation of the actor's body even has a cult flavor, which is a rare attempt. However, this is the problem. When people see "Don't Look Back" as an art film, they feel that the director and screenwriter are convoluted and show off their stunts; while the audience sees the film as a commercial genre, they cannot fully accept its expression, lacking in simplicity and easy-to-understand. narrative logic. Perhaps the expectation was a little high, and the final box office did not have the expected ideal. But it's too early to give the next comment on the two actresses. After all, in order to cooperate for the first time, the two of them performed very hard. In the years when the charm still existed, using this "shattering" showdown to leave traces on the screen, it already took a lot of courage, and it was worthy of the fans' pursuit and infatuation for many years. . It is a pity that relatively conservative French film critics did not agree with the painstaking efforts of director Marina DeVine, and did not give face to the two female stars at all. The evaluation of "Don't Look Back" after its release was not high. It should be said that the audience is still very curious about such a suspenseful subject. This is not a plain boring story. The alienation of the actor's body even has a cult flavor, which is a rare attempt. However, this is the problem. When people see "Don't Look Back" as an art film, they feel that the director and screenwriter are convoluted and show off their stunts; while the audience sees the film as a commercial genre, they cannot fully accept its expression, lacking in simplicity and easy-to-understand. narrative logic. Perhaps the expectation was a little high, and the final box office did not have the expected ideal. But it's too early to give the next comment on the two actresses. After all, in order to cooperate for the first time, the two of them performed very hard. In the years when the charm still existed, using this "shattering" showdown to leave traces on the screen, it already took a lot of courage, and it was worthy of the fans' pursuit and infatuation for many years. .
Understanding: Monica is not dead, Sophie is dead, this is the premise. So it is very important to see who the bleeding hand belongs to, and to have the correct translation of the subtitle at the end. But you might ask, what happened to Sophie at the beginning? This is because little Monica has always been unable to accept the fact that little Sophie is dead, or she hopes and hopes that Sophie is still alive, so she has always regarded herself as Sophie over the years. Be careful, not think of herself as Sophie. Fei, but thinks she is Sophie. As she grew up, she also had a husband, two children, a mother, and a job as a writer. But all this changed because of the unsatisfactory work. The mental depression gradually touched the fragile nerve in her memory. She began to realize that she seemed to be another face in the photos, and there was always a little girl in her sight, even having nightmares. In such a chaotic mental state, his temper was naturally bad, and there were problems in family life. The husband proposed separation. She went to her mother, but her mother was not at home. She went to the mahjong parlor to find her, and was busy building the city wall, ignoring her. In this way, her mind became more and more tense, more and more tense, and when she was extremely tense and extremely vulnerable, the more she could feel the true self that had been buried for a long time, so she felt that her face was changing, changing, until she I opened the mirror and took a sigh of relief when I found that nothing had changed. In the process, there are three characters that need to be explained. The first is her husband. I didn't understand at first why I watched her husband become another man. It was only later that I found out that the man who appeared at the beginning was also "taken" by Monica as if she took Sophie herself. The man was actually another little boy who was in the car at the time, and he wasn't dead. The face that made the deepest impression in her childhood also followed her into her life and was regarded by her as her husband. In fact, her husband was a different face like her, the one who drove her to her parents' house later. And her mother, the face that appeared at the beginning was also the face of her childhood mother, and it was only her impression. In fact, it was the white-haired one who lived with her - her adoptive mother. The little girl who suddenly appeared in her line of sight was her childhood self, and it was also an impression. It did not exist and symbolized her memory. That's why she followed the little girl later, actually following her own memory. The little girl who had a nightmare at night and pulled her round and round was also her memory involved in her round round. At her foster mother's house, she found a photo of her childhood. There are her biological mother and sister on it, so there is a plot of her going to her hometown to find them later. Why did the adoptive mother lock the door to prevent her from leaving? In fact, she was afraid that she would not come back after seeing her biological mother. After all, the adoptive mother had deep feelings for her. Finally, she found the place in the photo, but her biological mother had pretended not to recognize her. And the man she "takes" as her husband's face, the little boy who was also in the car at the time, didn't know her for many years. Later, he went to the hotel to find her, and she also regarded him as her husband, but the man was just looking for a passionate encounter. The little girl appeared again, which represented that she was closer to the memory. So she followed the little girl, in fact, she followed her memory and walked into her childhood home step by step. Back at the time, back to the scene of the accident. She, her mother, and the little boy survived the car accident, but little Sophie died. Little Sophie is little Monica's beloved sister, and their hands were held tightly together during the car accident, which actually symbolized the transmission of a "soul". Little Monica's mind was greatly stimulated, she couldn't accept what happened, so after she ran away from home, she always regarded herself as Sophie in her soul, and regarded the people around her in her childhood as those around her later. people, live to the present. There is a scene here, which is actually an overlap of two scenes, where she meets a white-haired woman, her adoptive mother, at the outdoor cafe. One is that she met her here when she ran away from home when she was a child, and later became her adoptive mother. The second is that the adoptive mother is coming to pick her up now, and these two scenes overlap. That's why little Monica made a phone call sign and got on the train by herself. Little Monica became Sophie after changing her clothes. In fact, this process symbolized that she regarded herself as Sophie from then on until now. It also symbolizes that she is still used to thinking of herself as a Sophie. But when she returned home, she pushed open the door and saw her husband and children, who called out "Mom". Everything became real at this moment. She finally got rid of the nightmare in her heart and found herself. In the end, Monica looked back at Sophie, and said goodbye to the Sophie who existed in her soul. From now on, Sophie was not in her soul, but in her heart, she no longer regarded herself as Sophie. Fei, but keeps the memory of Sophie... Although I also explained it with the word "soul", this soul is by no means another soul, and can be explained as "deep mind". So, this is definitely not a ghost movie, and there are no ghosts at all. Everything exists in the psychology of the protagonist. Overall, this movie is quite interesting. For example, the self in the mirror still exists as a consciousness, while the self in the photo exists as a fact. These are all details that the director took pains to express. Reminds me of "Stay", which is the deconstruction and replay of all the impressions of the outside world in the protagonist's mind at the moment before his death, and he is also making a fuss about "impressions that exist at a certain moment". It's a pity that I didn't understand it earlier, but I didn't understand it until I read the movie review. I feel so sorry! Fortunately, after thinking about this for a long time, I finally figured it out.
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