I have a habit of writing something about whether the movie is good or bad.
I haven't written for a long time, and I have pressed several films.
The most "lazy" way to write is that it is easy first and then difficult.
Today, in reverse, write out what you want to write the most.
<h1>One</h1>
I would say that "The Girl with a Bright Future" is a good movie.
The reason is also simple and straightforward: it breaks the stereotype of Hollywood women's film and television dramas.
Or rebel like a neurosis, cloaked in the clothes of feminism, playing the routine of a cool film, and shaping the protagonist into an impeccable and tenacious female god of war;
Audiences who have seen the Hong Kong version of "Revenge of women", the 2019 version of "Thunderbolt Baby" and some super British movies should be quite familiar.
Or the little family is angry and breaks his thoughts, and puts the ascetic routines such as "life is bitter" and "I go to hell" on the desperate heroine who loves and hates.
Far from it, nearer ones such as "Murder in San Jose" can be included in this category.
The discerning person can see that the brainless struggle and the sick moaning are two incomparable extremes.
Why can't the protagonist be normal, rational, and live?
Even if you want to show that the heroine is stubborn, wise enough, and dares to sacrifice herself,
Don't get too far from the truth.
What's so good about "Girl with a Bright Future"?
In addition to not going to the extremes mentioned above.
The lead actor tried his best, the rhythm control was in place, and the bold and realistic story added points to the film.
The most important thing is this film, in addition to ruthlessly flogging the "boy with a bright future",
The line between good and evil, pathology and persistence, enthusiasm and coldness is clearly drawn.
<h1>Two</h1>
Young Alison Brie, very good at grasping this kind of character whose surface is as plain as water and whose heart is tormented,
Let an angular but stubborn ordinary girl be clearly presented in front of the audience.
The ordinary girl next door, Kerry, has a good friend Nina who has played since she was a child.
Long-term relationship makes them feel like brothers and sisters, like sisters,
So much so that when they go to college, they all choose to go to a medical university.
However, the so-called party culture of Young People in the West has changed the fate of this pair of rustic girls.
The blurred boundaries of "drunken disorder" cannot hide the dirty and unbearable forced to take turns in relationships.
Nina's ability to fight to the death does not seem to change the powerful parents, the promising boy who pretends to be innocent, and the numb Western social system.
Kerry, who blamed himself, dropped out of school and returned to his hometown.
Escape, perhaps for a girl with no background, is the best destination.
The problem is that man is a social animal, and he can escape for a while, but he cannot escape for a lifetime.
There is no outlet for inner pain, and the result is either madness or death.
So, she began to try, in a special way, to get revenge on the "scapegoats" in her mind:
Dressed up in flowery and sexy, pretending to be drunk as mud, waiting for the opportunity to invite jun into the urn,
She was "lucky" by various men to "pick up the body", taken to her home or hotel, and at the critical moment, she stared at each other very calmly and asked him what he was going to do.
The seemingly smooth "picking up the body" turned into a silent and loud question, and at this time, the self-aware man realized that he had been played by a woman.
This is not a so-called "game", Kerry uses himself as bait to get revenge on the "stinky men" who are accustomed to thinking in the lower body,
However, the revenge of success again and again is not exchanged for satisfaction, but deeper self-blame.
The more revenge, the more painful it is.
<h1>Three</h1>
Caught between a sudden sweet love and an inextricable urge for revenge, Carey falls into a contradiction between reality and ideals.
In life, people always seek a certain sense of balance in reality and ideals, which they think they are at ease.
Carey is no exception.
She didn't want to forget the past so easily, to give up easily, even if her parents, Nina's mother, and the female shopkeeper who cared for her were doing their best to persuade her to come out.
The revenge continues, not limited to stupid strange men,
Let the female classmate who hurt Nina, the female principal who tried her best to protect, the middle-aged lawyer who helped the "boy with a bright future" get rid of the crime, taste the feeling of his way and cure his body,
It is not so much that Carey seeks justice for Nina, but rather that she wants to let go of the past and pursue a new life.
For Nina, it had to be done, and when it was done, it was over, and that was what she had thought.
Who would have thought that her old classmate and current boyfriend, who had a crush on her, would be one of the people involved in the dirty queue.
Thus, the ultimate revenge towards self-destruction is ultimately inevitable.
In a sense, the heroine Kerry, who is accustomed to self-isolation and lives forever in the past, is sad.
But everything must have a cause and effect, especially after successive revelations of the truth and betrayal.
Carey does not want to die, but has to choose to give his life in exchange for a just trial.
This is an unsolvable ending.
<h1>Four</h1>
In addition to exploring a topic of "social death" that the world is familiar with, "Girl with a Bright Future" is well integrated into the thriller and suspense elements, making a revenge story less dull.
The audience followed the footsteps of the heroine, was shocked by the interlocking revenge plan, and was impressed by the heroine's kind heart.
Revenge is not an end in itself, but to let you know how serious and absurd the mistakes you have made in accordance with "convention" are to the victim.
Through successive advances, the audience, together with Carey, pieced together the truth about Nina's party harassment.
The already gray reality becomes more difficult to accept in the face of harsh details.
Thus, the process of approaching the truth creates the necessity of approaching death.
This knot that can never be opened, in addition to subverting social cognition, there is only one way to die.
To make self-sacrificing revenge inevitable is the greatest irony of those "boys with bright futures".
However, what else can this change than to make the initiator confess his guilt?
In the extreme polarization and social extreme tearing apart in Western society, the elite class that controls capital and discourse power will not be questioned by one or two "scum" that has been pulled out, and the numbness that is habitual will still not be changed in the slightest.
Except for a cheap sigh.
Compared to the seemingly brutal endings of movies, the reality is often more brutal.