A film ten years ago, when Sister Julie was not red enough to turn purple, but the title of the film "Original Sin" tells everyone that Julie's allure when she was young is enough to tempt everyone and seduce people's inner potential. guilt and desire.
Some people say that this story is not about love, nor about pornography, but about what people are born with. Xunzi said that human nature is inherently evil, mainly saying that human beings are born with desires. If the desires in the heart are not restrained, there will be evil consequences. And the production of evil consequences is not only subject to acquired education, it is easy to be tempted, as stated in the "Divine Comedy", people are tempted by the seven original sins - greed, arrogance, jealousy, anger, laziness, gluttony and lust. And this film uses 120 minutes to show the sin hidden in people's hearts.
What we see is a woman approaching a rich man with all her might, for his great wealth—the covetousness of sin; and this man covets the beauty of a woman—the lust of sin. In the meantime, mixed with quarrels of doubt and desire, jealous suspicion and arrogance, nakedly intertwined into everything between this man and this woman.
Julie said: "This is not a love story, but the story is about love and the impact of love on life." There is always a reason for people's sins, and that is for what? At the beginning of this film, the director made us think that women are for wealth and men are for beauty, and with the extension of the camera, the happy ending tells the audience that people's sins come from love.
If it wasn't for love, there would be no jealousy, no anger, and no courage to drink coffee that you know is poisonous; if it wasn't for love, there would be no greed. He won't worry about gains and losses, and he won't choose to rescue the man who tried to harm him in the first place in the face of easy wealth.
Banderas: "Now I want to tell you, I love you, Julian."
Julie: "Julian's not here, she's dead."
Banderas: "My love can make you know that I love you ."
Julie: "No. No love. You don't love me."
Banderas: "I love you. I love you, not Julian Ross, not Bonnie Gaso, but you. I love you, I love you when I know you because I know you I love you like this. Better now? Not bad! I told you already, but you don't believe me. Tonight you will believe me. … No one else, no one but you, since the beginning In the end, from the beginning to the end. Don't change, never change." The
director's cleverness is that he is not telling a vulgar love story, but a love that is neither love nor hate, a kind of elusive and wonderful emotion. Such a complicated and inexplicable plot tells us. Sin and evil are only one thought apart.
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