After watching it, I didn’t rate it, and I didn’t have any friends with whom I could share my viewing experience. I bought a bottle of beer and walked to the bus stop, as if I came out of the theater surrounded by a space of hesitation. The emotional climax of ecstasy and extreme pain and fear in the movie continued.
Looking back two days, those intense scenes were suddenly brought closer in memory, very clearly, and I also realized that the hesitation that night was due to part of the empathy failure. This film is almost a male perspective, and it is a very abstract expression, unlike Yang Dechang's "needle" in the most subtle and specific places. If you don't insist on complete empathy, and jump out of it, the whole movie has a complete and strong expression.
Sex/anxiety/anxiety is the thread of the whole story, the lamp is abstracted as a near-divine but dangerous woman, the old man guards "her", and the young man desperately desires "her", although the purpose of his landing on the island is not to guard the lamp. The film seems to set erotic desire as the ultimate and most essential purpose, but after watching it, I feel that the indication of sex is similar to the anti-background color, which is a wall that makes people turn. The young man is caught in a love/lust nightmare (every time he touches the mermaid, it ends with a shrill scream and fear), and the seagull, with the same body as the elderly tentacle, successfully shapes the horror atmosphere from the outside, that is, detached from the causal and Common sense explanation, strange influence from the region. Other films can also distinguish between bluffing "scare" and "admonishment", or calmly presenting "unexplainable" puzzles.
As I watched it, I became more and more worried (and certain) that one was going to kill the other. The director opens the film from the perspective of a young "outsider" who falls into the net at the beginning and whose desire to flee dissipates after the final reversal of power relations. The fear caused by the environment, or the fear of another world and the unknown world, finally revealed as a dangerous game between people. I think this distribution and transformation are handled very well. The two were in a state of dangerous passion when they drank heavily, even in a state of insanity and disengagement, and "who they are" is almost always revealed in the drunken conversation, which is an exchange of riddles. The two hugged after being drunk, and there was a trance moment of same-sex intimacy. The roommate said it was a reconciliation between the two, I think it was the two who realized the similarities in their situation, rudely said they shared sexual anxiety, but immediately refused to break their single desire (chastity to the object of desire).
In many scenes, it is established that the young man is alone. For example, in the final quarrel, he heard the old man call him a dog, or it can be his judgment on himself.
Watching in the cinema is worthy of photography.
Robert did his acting, and didn't recognize him in the theater. In the end, the interpretation of opening the lampshade is very good, with ecstasy, pain, despair and fear, and strong emotions mixed together to reach a vacuum level that transcends human physicality.
The downside is that the "event" is weakened.
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