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Text / Wuji Six Beasts Special Author: Ma Zuimu.
She is Elizabeth and also Leah. As Elizabeth, she is a 17-year-old innocent girl, and as Leah, she is a woman who hangs out in a hotel.
She voluntarily chose this path and enjoyed it.
The film shows three guests, the first is a white-haired old man who hides his age, the second is a man who does not give enough money, and the third is a middle-aged and wretched man. An unexpected encounter in the theater makes the white-haired old man her regular.
Among all the guests, no man is selfish and cunning, and he threatens the heroine if he doesn't pay enough money; middle-aged men ridicule her as "a chicken for one day, a bitch for life", only the white-haired old man respects her the most, and is even willing to serve her. This also just made a note and paved the way for the later relationship between them to go beyond the norm.
This shot of pouring wine has a lot of meaning. Wine connects the two.
In the past, she explored sex alone and enjoyed herself. Now, the white-haired old man is also participating in the carnival. Sex is an art that is constantly being carved; sex is like a flower, blooming everywhere and always fragrant.
You see, without a sip of the wine, the secrets are revealed one after another. Sex is addicting. The young woman is the daughter of the white-haired old man, and he hopes to make up for the lost intimacy through company. And this time she didn't want to reveal the situation of her stepfather.
Then, pop it.
How crisp.
In Elizabeth's intoxication, the white-haired old man died suddenly and quietly.
She called out George's name, gave him CPR, and shook his shoulders hard. Anxious to the point of falling.
She wiped her bleeding forehead in the mirror as she tried to make a call. She sighed suddenly and quickly turned to put on her clothes.
This short sigh was laughing at his stupidity. People can't be saved, and making a phone call will reveal their identity.
You see, they are not a business relationship. Maybe it happened the last time George pressed her shoulder and asked her. Giving more money, tasting wine, chatting about family relationships—it doesn’t look like a business relationship would do. In light of their respective broken families, it is conceivable that they have each assumed the roles of father and daughter for each other. The nature of consumption allows them to explore lust with ease. She keeps him young and he respects her. They fit together seamlessly. So when Elizabeth found out that George died suddenly, instead of thinking about running away like an ordinary prostitute, her first reaction was to call his name, bring a towel, and eagerly wake him up. As if he was really who she was. The thought of making a phone call has always been intuition-driven - I'm going to save him. A red bleeding forehead and a black telephone receiver flashed in her panicked pupils. Xu is so emotionally involved that she almost forgot her identity. This complex emotion is mixed in several rapidly switching shots, full of tension.
The relationship between people has always been the focus of director Ou Rong. "Bed Scene" explores the communication between people, "The Dead Time" shows reconciliation with society and family, and "Into the Room" describes the taboo stories of high school teachers and gifted students. The film also constructs a complex character relationship, deduces an indescribable relationship, the dual identities of father and daughter, and quietly interweaves the seemingly peaceful but broken secrets of the two families.
Ozon is good at exploring desire and deviance, and some have likened him to Hitchcock and Chabrol. His approach to sex and love is bold.
In this film, sex is still the protagonist, naked and full of sex. Subversion of conventional sex, with the meaning of psychoanalysis. Elizabeth and George's relationship can easily remind you of Freud's Electra. It's even a bit like the reality of the Electra complex. But this film does not mean to portray morbid characters in line with the audience's expectations at all. You can't see the display and excavation of morbidity. The heroine's expression is always indifferent, like the evening breeze in summer, Rimbaud's poetry, mother and the outside world. Her suspicions were superfluous and ridiculous.
Who said she fell into a trap? From the beginning of self-healing to having no feelings for her German boyfriend, she was just exploring. Indulging in the exploration of posture, watching the film to learn, the middle-class family is not short of money, she is experiencing it. And those outside world's "for your own good" intimidation and vicious speculation and judgment are the pathogens that make her look dim.
The girl's first time is always like that, and George's tenderness is more precious. Love does not need to be a match, the age is similar, love needs respect and understanding, commonly known as cross-heart. Adolescent boys always ignore this, but older people know better.
George is dead, her quest for sex is over. Beginning with insensitivity on the beach and ending with absurd love, the sexual quest of adolescence completes its adventure.
The camera quickly cuts to the lively party scene. She walked through with ease like an outsider.
Then, she met a boy of the same age and talked about a love that was no different from ordinary people. Lost interest after having sex with Alex. I do not love you. she said lightly.
She goes back to her old business and accidentally meets George's wife. The wife played by Oscar goddess Rampling continues her usual alienation, which is very suitable for this desolate role. Unexpectedly, his wife also understood her and was impressed by her young beauty. The wife asked her to accompany her. After all, she was lonely, no less than George's. It was the same hotel room, where they lay side by side in silence.
Elizabeth awakened the lives of two people.
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