At the beginning of the movie, Ingrid stands at the door to send her husband out to work. The seemingly intimate and warm daily behavior of the couple is carried out with almost zero interaction between the two, as if to indicate the alienation of the relationship between the two. After her husband left, Ingrid leaned on her touch to make herself a cup of tea and sat down on a chair by the window; the old tea bags beside her reminded us that this is Ingrid's day-to-day life. Because of Ingrid's blindness, her other senses were sharpened, allowing her to see things around her. In an unusually quiet day for Ingrid, various voices were particularly prominent. Just as "The Wind Listener" strengthens the sound and highlights the hearing of the blind, even the smallest sound can enter Ingrid's ears. These voices adorn Ingrid's daily landscape, but they also reflect her loneliness and unease. The slight collision made the sensitive Ingrid think that her husband who had already gone out was still at home. Interestingly, her next action was to turn on the radio, filling the whole space with sound. This move makes one wonder if Ingrid intends to hide all her voices, fearing that her imagination will come true?
"It doesn't matter what is real, as long as I can clearly imagine it." Perhaps the loneliness and unease swallowed Ingrid's reason, or perhaps the passion of love blinded people in the first place. Keep jumping between the two. The director uses the interlacing of two pairs of men and women to reflect Ingrid's real world and imaginary world. The chaotic but ingenious editing makes the audience suddenly fall into a fog, unable to figure out what is true and what is false. Through this way of expression, the audience can easily feel Ingrid's mental weakness and even split.
In the context of the film, Aina (Marius Kolbenstvedt) and Erin (Vera Vitali) can be seen both as her characters and as her split projections. In the film, Ingrid shows her husband's head and poses with all her provocative abilities. While showing her sexuality, she mocks herself at the same time: "Even if it is her own wife, it should be weird to be oral by a blind girl, right?" estranged, or at least blind (disabled) Ingrid sets a frame for herself. As if she was naked on the glass window, even though she has fully revealed herself, there is still a transparent/invisible barrier. Therefore, in her imaginary world, Aina can only satisfy her sexual desire by watching various pornographic films, peeping, and stalking the Internet. Even her husband, who is lying beside her, thinks he is in a chat room. Flirt with other women.
Ingrid's imagination is almost morbid, but passion is the opposite of reason, Harold. Keiser (Harald Koisser) and Oygan. In Eugen Maria Schulak's co-authored book, The Philosophy of Love, Desire, and Infidelity (Wenn Eros Uns Den Kopf Verdreht, 2005): "Possession, obsession and jealousy dominate everyday life and obliterate peace and tranquility. atmosphere, but that is the condition of tenderness and love.” Love is a double-edged sword, which can make people beautiful, and can also breed jealousy, paranoia, and fear. Another self; at least not the familiar self. At her husband's request, Ingrid/Eileen ended up attending the banquet even if she didn't want to, but she showed up in weird clothes and makeup. This scene suggests to us that if we cater to the other half for the sake of love, we will lose sight of our true self, and will only end up looking weird.
At the end of the movie, Ingrid finally walked out of the house in order to go to the pharmacy to buy a pregnancy test stick, which symbolized that she stepped out of the frame she set, and was willing to explore and feel the world instead of just hiding at home. A person can only know himself through his feelings, and this allows Ingrid to integrate herself, find herself, and open up the possibility of interacting with her husband. Therefore, when Ingrid was masturbating, the husband on the side looked at her instead of just looking at the computer work before. Watching, allowing each other to exist, is also the premise of love.
Love is no longer a special proposition, Eski. However, Fogg uses "blindness" as a metaphor, supplemented by delicate narrative techniques, unique plot structure and ingenious editing, giving the love story a new look.
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