It's all a digression: I came back to the office one day with a gray-covered booklet, and when I passed by the front desk, my male colleague suddenly said that the cover of our unit's booklet is simple and elegant in pure pink. Surprised, only after further questioning did he find out that his colleague was colorblind. He was taught that this degree of gray is pink since he was a child.
Going back to the movie itself, Natalie played this Navelli (…), who was abandoned by her mother since she was a child, followed a narcissistic wandering singer boyfriend at the age of seventeen, and was abandoned by her boyfriend outside the supermarket with a big belly.
Navelli is young, beautiful, and smart, taking advantage of the convenience of the supermarket and the only money she has to survive, and she manages her life in good order.
Navelli is simple, shallow, and a bit rude. She made loud noises in the toilet to frighten children, and hurriedly walked around the supermarket with a big belly and bare feet.
And her biggest feature is luck. She met good people, the "nun" who took in her, the black uncle who directed her photography, the nurse friend who shared the gossip, and her lover, Funi. Got a job, realized a dream, got rid of the past, gained money, helped others, and embraced love.
The whole screen is like the ward where Navelli woke up after giving birth to the "store baby". The pink background with flower balloons, as if the gray life of the last second no longer exists.
And I know the real Neville around me, the gray one has no redemption, and now in this movie, it's like someone pointed to her life and said, you can see that it may actually be pink. (Even, you can work hard. There is also an example of the crying of the nurse. I only saw that the luxury car did not see this person clearly and talked about knowing people.)
I don't know if the environment is different, the story will take a turn, but I don't have the slightest sense of comfort when watching it, because it is gray in the visual.
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