This time, her name is [Chloe].
The beginning of the story is simple. University professor David (Liam Neeson) and gynecologist Katherine (Julianne Moore) are a typical middle-class couple. With a successful career and good taste, his son has reached the age to secretly take his girlfriend home for the night. The married life of the two is just like the minimalist white-tone mansion they live in. Through a smooth floor-to-ceiling glass wall, the home that looks unblemished is covered with dust that can be touched. So the middle-aged crisis came on time, and Katherine discovered that her mature and charming husband might have an affair with female students. As a professional woman with self-control, Katherine obviously did not cry, make trouble, and hang herself. Instead, she made a dangerous move and found Chloe, a charming and charming senior companion girl, and asked her to seduce her husband in an attempt to challenge her husband’s self-control. Live the handle. Chloe quickly jumped into the role and seemed to hit it off with David. Every time after the tryst, he would take the initiative to report the glamorous details to Katherine. At this time, the story jumped out of the typical little san'er routine, and the audience began to feel something was wrong. Katherine became obsessed with Chloe's verbal reports time and time again, jealousy and pain mixed with strange excitement and throbbing, she couldn't stop, just to "feel closer to her husband like this". Then the truth revealed that it turns out that Chloe is really obsessed with Katherine, and the story of passion and seduction with David is purely a cover, just to get closer to Katherine. The couple had a big fight, and found out that the seemingly carefree husband was not deviant, but the lonely and affectionate wife had sex with the young girl she hired. At the end of the story, Chloe, who is trapped by love and obsessed, sneaks into the mansion for the last entanglement with Katherine, and accidentally falls out of the window (whose wall is made of glass), and then perfectly falls out of the couple's life. The family of three is back on track, Hollywood-style reunion.
As an atypical cheating story, the movie is completely a rivalry between two women. The actor's husband seems to be the inducement of everything, but it is always a background color. Knowing that her husband might have cheated on young students, the wife jumped directly into a state of distrust, did not check the facts, but preconceived that the husband was infidelity, thus setting the tone of self-denial lack of confidence for the subsequent development of the plot, namely You must have no interest in me, because I am no longer young. Later, the young girl Chloe joined in, actually dividing the wife's self-personality into two, forming the two ends of the balance. One end is the "real me", and the other end is the "I used to be/what I want to be". On the one hand, Katherine was frustrated by Chloe's fascination with a man who moved his fingers and bowed his head to court. The so-called relationship between Chloe and David is limited to the narrative of language. The subtext refers to these passionate moments that Chloe may have happened with but did not happen, and it can also be understood as Katherine wants to happen with it but can't reach it. The moment of intimacy between a wife and her husband only exists in the language of another woman, while the interaction with her husband in life is cold and restrained. The desire of one woman vomited from the mouth of another woman. In these narratives, the entity of man is absent, and Chloe becomes a medium for Katherine's self-discovery and self-exposure. And Chloe's fascination with Katherine is not entirely lost. Because whether it is the projection of the mother image (the explanation in this part of the film is very limited) or other reasons, for Chloe, Katherine is also the other end of her balance, the goal she desires. When the husband and wife finally opened their hearts to reconciliation, they discovered that all the gaps were just because each other thought that the other was indifferent to themselves. In fact, it was completely the result of lack of communication. Katherine's balance now slowly began to balance. By the end of the film, Chloe disappeared, as if it never existed, the only trace was the silver hairpin Katherine had in her hair.
In the film, there is not much ink on the background of Chloe. We only know that she should be a seductive woman who caught men with her hands (this is Katherine's opinion). Secondly, she gave her mother's silver hairpin to Katherine twice. It is said that there are more detailed background explanations in the English script, which makes the characters' behavior motives more reasonable. In the end, the film behaves like this, I don't know if it is deliberately left blank.
Julianne Moore is indeed a senior actress. In the face of Seyfried's aggressive and dazzling youthful beauty, she expressed her cautious and orthodox wife's repressed, restrained and always-tempered mentality into a three-pointer, with layers of emotions superimposed, not inferior. The large-scale bed scenes of the two beauties of the Cenozoic and Mesozoic are also beautifully filmed, and they are really dedicated. What's interesting is that Moore and Seyfried have the same birthday. It's a fate or a coincidence to have a chance to compete.
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