It's a romance
It's a thriller
It's an erotic film
Because of the influence of the movie name and poster introduction, I took a seat, at first I thought that the male protagonist was the two-sided, and then with the promotion of the plot, I found that the original male protagonist was a twin and not a double-sided, and finally with the female protagonist's bullet break, the mirror image was broken, the stomach was cobbled, and the mother appeared, ah! The mystery is revealed, all this is the imagination of the heroine! This reversal is too sudden, fortunately, there are hints and foreshadowings everywhere in the film, let's enjoy this Ou Rong's "Two-Faced Lover".
Ou Rong's ambitions continue to show in this film
Medical anecdotes and twin psychology construct layers of suspense, and for the author Ou Rong, the exploration of lust and gender is still outstanding. "No one has ever been saved by love", Ou Jong borrows twin cannibalism and sexual amples to explore a kind of Kinkid-esque ethics of love, but tragically concludes that the origin of life has always been dirty. With regard to the two sides of the oneness of nature, a remnant of fantasy unfolds in a state of heterosexual repulsion and homomorphic divergence.
The film tells the story of former model Chloe who goes to the treatment of the psychologist Paul because of the unexplainable stomach pain, and after the two gradually fall in love, Paul terminates the treatment and pursues Chloe; after the two live together, Chloe also finds a new job in the Museum of Contemporary Art, but paul is distressed because Paul is reluctant to talk about his past.
There is a term in the medical community called "psychosomatic disease", which refers to a disease that is related to psychological factors but is mainly manifested by somatic symptoms
One day Chloe meets a man on the street who resembles Paul and is also a practising psychologist; Chloe pretends to be a patient and goes to make an appointment for treatment, only to find out that he is Paul's twin brother Louis. Chloe begins to struggle between the two brothers and is extremely satisfied with sex with Louis, even becoming pregnant with Louis's child.
As Louis's desire for control grows stronger and Paul proposes to her, Chloe finally digs up the brothers' past after some persecution: Louis is jealous that Paul has pretended to be him to pursue and raped her then-girlfriend Sandra. Chloe eventually can't stand the threat from Louie and arrives at Louis's clinic with a gun, only to find that Paul is there too, and Chloe, unable to tell the difference between the brothers, shoots and hits one of them, knocking herself unconscious and being taken to the hospital.
Then it was the moment of witnessing the miracle: it turned out that everything was because Chloe had absorbed the embryos of the identical twin sisters, and Paul had no brothers at all, and the so-called twin brother Louis and the sexual relationship with him were all due to the fantasy or delusion that Chloe himself was an identical twin.
In her triangular relationship with her brothers, Chloe searches for the truth after Paul's lies, the real relationship between Paul and Louis, and herself
The opening and ending, several split screens, multiple illusions and contemporary art scenes are very stunning. Human possibilities are so glamorous, gloomy, and irrepressible. The two-sided interpretation of the male protagonist Jeremy Renai is seductive, and several erotic scenes have different degrees of welfare. The text model of the pool love killing, the narrative rhythm of entering the room, but what you want to tell is the proposition of the masquerade. Therefore, approaching scientific interpretation is both a cumbersome concept and a new lie.
The strange feelings and taboos put down in "Franz" are all picked up in this one, placing the transgression and sinking of desire within the theme of twin relations, exploring the possibilities of ethics, gender and self-personality, although the ending is revealed a lot, but still prefers such Ou Rong.
The heroine, Marion Vass, occasionally shows some of Boman's shadow, and it happens to permeate the same evil psychological split as "Black Swan", with the kind of dizzy beauty. Looking at Marion's face, the eyebrows and nose are all moving towards the extreme of exquisite maturity and beauty, while the mouth, which Louis called "greedy", is both male and female. Further down is a rather masculine chin, square, flat, powerful, slightly cracked.
The standard model face can withstand close-up and light makeup, the neutral dress also has a fatal appeal, and the cold and confused face is just right
A face that perfectly balances feminine refinement and proportion with a mixture of masculine features – the so-called true great beauties are hermaphrodites.
The fantasy of the twins is really too soul-sucking, and the good and evil under the twins, as well as jealousy and resentment, are all hit by the desires of people themselves, and the luck of human nature itself.
A very dark and seductive love story, Ou Rong this time like Lynch in "Mulholland Road" to break up a woman's fantasy and reality and reorganize, producing a bizarre picture of the puzzle, but he did not leave the audience with enough possibilities to restore the true appearance of the story like Lynch, what the story is is no longer important, what is important is to tell us: it is not a good thing for a woman to think too much.
Paul was him and So was Louis. The combination of gentleness and violence is the unique treatment of this psychiatrist
There is a bit of a disconnect in the connection between the two paragraphs before and after, and the extended transition from the people around the heroine to the heroine herself is easy for the audience to immediately perceive the truth. I like the scene where the three people confront each other, the music and the mirror, the atmosphere is climactic and ghostly. The details of the two stripped shirts revealing silk shirts with black silk are not very deliberate, but as long as you see them, you can almost understand the director's intentions.
In addition to the acclaimed "unprecedented opening in film history", museum meditation, human and object specimens also have an audiovisual freshness, and many mirror images are used differently. Including the contemporary art of "Dengtang", the imaginary action of "Under the Sand", the psychological structure of "Pool Love Murder", and the large-scale lust of "Hua Rong Yue", Ou Rong has always been the author of "new extremism".
I always thought that the male protagonist was a double-faced lover, until I later found that the female protagonist was, the imaginary picture was far bolder than the bed scene, the open stomach was comparable to "Prometheus", the girl's abdominal pain was fruitless, was it psychological or physiological? The intricate relationship between the twin brothers and the female patient, is it a distortion of human nature or a moral degeneration?
Paul and Louis are twin brothers, and although they look the same, they are one black and one white, one good and one evil
The male protagonist shows the outside and the introverted to the fullest, and at the end, it is even impossible to distinguish whether it is Louis or Paul on the bed? Ou Rong extended the forbidden love affair to the twins, which is indeed a good subject for experiments, and many psychological experiments are done on twin studies. For people who are born and separated from themselves, people's emotions are even more complicated.
The whole film is like the crystal broken glass at the end, so delicate and eerie sharp and shocking, the grip of this plot is better than many commercial films. The design of the ending has also been deliberated, and it is worth recalling, even if I take off my Ou Rong filter, this is still a very good author's film. The erotic scene is very good, beautiful, beautiful and can serve the plot. Marion Vass is so beautiful, the heroine acting skills that came out of "Flower Face Moon Appearance" have soared, and the neutral setting has been judged by two people with "Flower Face Moon Appearance", but it is still thrillingly beautiful.
The expression of youth in the film is nothing more than two, one is idealized romantic ignorance, and the other is cruel youth
Euron taught me vividly through "Two-Faced Lover" that if fantasy means possible, it also means the impossibility of reality. Those who are born with us must have a self called the dear other. Sometimes we merge into one, sometimes we lose sight of the other; we harvest each other, and our hatred is as deep as the sea.
The most brilliant thing about this film is undoubtedly the use of mirror images, which have always been loved by directors as an important prop to reflect the inner subconscious and present non-realistic space. "Two-Faced Lover" takes "twins" as the basic concept, and the mutual reflection between the characters dominates the overall situation, and this idea, Cronenberg has already made a higher-level "Sin Buckle".
Hegel proposes that the individual's identification of oneself cannot be accomplished on its own, but must be identified through another objectified mirror relationship with others. But Lacan made a new discovery on this basis, and he believed that this identification ended with the substitution of the other for the subject.
Louis and Paul look exactly the same, but have completely opposite personalities, like the male version of the red rose and the white rose
According to Lacan's mirror image theory, the mirror image is an illusion when we observe the world, which is based on the misidentification of other people's eyes, and after transformation and reflection into a "mental image", through this process, the reflection in the mirror constitutes the subject of the self.
The opposition between Louis and Paul is not simply good and evil, but between the ego and the ego. This pair of non-existent twins is Chloe's imagination, corresponding to her, which is the self that strives to restrain desire to suppress the inner self (Paul, that is, Chloe herself), and the self that pursues the fullest desire satisfaction.
We may wish to put this theory in the film interpretation, although Ou Rong prefers to put it into the accumulation of various symbols, not to explain the theory in depth.
Whether the intertwined limbs and organs are a metaphor for the twin sister in the heroine's body
Sandra was originally only a product of imagination, but as a "physical character" in the play, there are also appearances, with Louis and Paul's former victim prey appearing, Chloe pushes the door in, the camera moves from under the mirror to Sandra on the bed, this scene is very similar to Hitchcock's "Horror", like the withered Sandra trance transformed into Chloe himself, the typical "mirror" reversed to "subject".
Louis is the deepest spokesperson for Chloe's heart, he takes her place to vent the unspeakable insidiousness, his face is always half-hidden in the darkness, until it is declared that "your secret is his (Paul's) secret", Sandra and Chloe, Louis and Paul, the two twin mirrors and subjects, can coincide.
Chloe has been exploring her body, and the root of her mental stress comes from her obsession with "twins." She tried to find out through heterosexual interactions and fertility bets, after all, from a medical point of view, it is also the birth canal, and the result of enjoyment is often promotion to motherhood. But the estrangement from her mother has always been lurking in her body as a knot, and Chloe's process of "visiting Sandra" is the embodiment of this childhood shadow.
The fears that arise from crossing moral barriers are symbiotic with the anxieties caused by temptations
The girl in the hospital bed, the cursing of her mother, revolved around the assumption of "twins": Chloe's "false pregnancy" panicked, giving birth not to her own daughter, but to a sister who never formed, which was originally only a physiological anomaly and was endowed with a moral companionship. In the second half, the heroine searches for the victim girl many years ago, and the dialogue scene with her mother is simply a copy of "MulhollandAu", and even the relationship between the heroine herself and the girl on the sickbed seems to secretly refer to the mirror relationship between the two heroines in "Mulhollandau".
Contemporary thriller films increasingly prefer to use scenes from contemporary art to compose their own cinematic world. Distorted, sharp, exaggerated contemporary art that is prone to physical discomfort is incorporated into the author's own symbolic world, often to reflect the inner state of the protagonist. It is not new for a work of art to be metaphorically used as a symbol, but contemporary art is often accompanied by a place where it is displayed, which together constitute the world of that vision, which can form the stylistic tone of the film or enrich the psychological space of the protagonist.
The cold alienation of the gallery space with black and white gray as the main tone also extends and metaphorically extends and metaphorically the psychological space of the heroine
Why Chloe's new profession in Two-Faced Lover is the administrator of the Museum of Contemporary Art. This pure white, alienated space, hung up on contemporary art works, seems to stimulate her tendency to psychological alienation. One obvious shot is of Chloe going to work with deep dark circles after the first night of cohabitation, sitting in two works of contemporary art, her eyes closed, the space around her seemingly blending into her mind, something catalyzing and brewing. Eyes open again, already on the bus, the warm hues of the setting sun form a contrast with the museum space. However, it was at this time that she "saw" her imaginary brother for the first time.
The museum space forms an enclosed space isolated from the outside real world, and she looks confident, strong and dominant in this space in a black suit.
The representative interior space of the Museum of Contemporary Art is detached, closed, minimalist, cold and hard
She gradually brought these psychological states into the imagination space of psychotherapy with her brother, and this imagination space thus obtained the cold quality of black and white gray, which was in stark contrast with the warm tone of the brother's treatment room in reality, and in the process of diagnosis and treatment with her brother, she also gradually turned from complete passive to active, in the words of her mother, she with a "fragile" personality gradually became cold, determined, and aggressive in this imaginary space. In reality, her interaction mode with her "brother" is actually relatively weak and dependent on the other party.
All identity comes at the expense of primal desires, so Chloe needs to murder Ben Ego to be identified. This scene of shooting, like the father in Oedipus, when the tyrannical superego father is killed, it is also the moment when the "father" returns, the internalization of the father's name, so it seems that Sandra, who finally broke the glass, is the trinity, tyrannical superego father law with Louis and Chloe.
Louis, in her imagination, said to herself, "Some of the more primitive races will kill the weaker of the twins." ”
Although the story of cannibalism is terrible, it is also true in the human world
The reason why Chloe was able to devour her siblings in her mother's body was because she was more powerful. The game of power between them implies the opposition between social morality and ethics and primitive desires, and under the constraints of morality, the satisfaction of desires without any taboos is rebuked, so it is congenitally stunted and stillborn.
"Two-Faced Lover" can be seen as an artistic erotic thriller, the scale is really not small (not recommended for under 18 years old), the audience can feel the sharpness and bloodlust on the sexual blade in the film, but there is no need to return to the so-called "mystery" with enthusiastic expectations.
—end—
I am "Old Cui Man Talk", welcome to pay attention to and leave a message, let us talk about life together and imagine the future.