The road to despair

At two o'clock in the morning, after watching Jin Zhiyun's "Rose Flower, Red Lotus", the end of the credits of the waltz is so beautiful that it lingers in my ears for a long time. In the last frame of the picture, the unbelievable and flashy grief on Lin Xiujing's face stays on the way to despair. They all say that this is the most worth watching Korean horror movie. I watched it and I can’t tell what is scary. Although I was really scared during the watching process-but the deeper feeling is about this kind of movie. The regret of the family tragedy: Love is indeed a double-edged sword, especially when it turns into a guardian power. The love of facing hatred cannot overcome all harm, so it returns to endless regret, a kind of hatred for oneself. , A kind of hatred for the past; in exchange for sorrow, the indefinite time to get rid of this torture is even more a kind of despair; then it evolves into a horrible personality split, and in the name of love, the person who hates hatred Revenge, in order to obtain the rationality of this revenge, the original hatred was extremeized in the illusion, and finally this terrible fantasy was integrated into the real world. The tragedy was born. The director used his own lens to show us that some people were afraid. I was moved.

Things that make people feel sorry should have been beautiful in the first place. In the film, Lin Xiujing and Wen Gengying play a pair of flowery sisters. The pleasant natural scenery in the suburbs, the turquoise water, the unmanned crossing, and the delicate light form a channel of emotional flow. The "sister" walks into this film. Quiet, trying to find the "memory of the wind"; enclosed small villas, exquisite decorations and furnishings, ancient bells that will "clang and clang" when they turn, and the door shafts that "creak and creak" when they turn, printed on the wallpaper and The roses and red lotuses that can be seen everywhere on the curtains are all objects staying on the edge of division, shuttled between the reality and subconsciousness of the "sister". Even though it was the pain of despair, that scene of love and hatred was intertwined, and it was staged again and again.

The room in horror movies is always very quiet, so quiet that you can hear the friction between love and hate. "Mom" was desperate for love and committed suicide by hanging herself. "Sister" found out at the first time, but was overwhelmed by the wardrobe that had fallen accidentally, and groaned for help from his only trusted "sister". The "stepmother" was hesitating whether to go to the rescue, but bumped into the "sister" who didn't know it. The "sister" hated the "stepmother" and said something nasty when they met, and the enraged "stepmother" was determined not to rescue her. "Sister" walked out of the house on the waltz, without knowing that she was about to embark on a path of desperate memories. She is schizophrenic: love for "sister" and love for "mother" are in the same line. This love gave birth to the hatred of the "stepmother"; the "mother" died and wanted to find a fulcrum for her love and hatred, so the "sister" who had also died lived in her own fantasy world, and the original hatred was also transformed The illusion of being a "stepmother" abusing the "sister"; love has become a guardian power, guarding all kinds of imaginary harm; what is even more terrifying is that she has subconsciously accepted the fact that the "sister" is dead, so in her illusion world Here, the "sister" must die too, and the sublimated hatred distorted the truth of the death of the "sister" (becoming a "stepmother" killing the "sister"), and eventually led to her extreme behavior in the real world.

The root of tragedy lies in all kinds of love. It is because of the magic of love that Lin Xiujing's "sister" will stubbornly stay in the memory of the pain that makes her desperate. Endure regret and sorrow for love, and embark on the path of despair-when you begin to have love. . .

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