Psychoanalytic interpretation of the movie "Lola Run"

Psychoanalytic interpretation of the movie "Lola Run"

I once saw a message on TikTok: Scientists measured 59 nanoseconds less time on an airplane than on the ground. I don't know exactly what that means, but combined with life, I've found quite a few. Why do people feel that the dream has passed for a long time after ten minutes of sleep activities? Why do people feel like they're in an alien space during sleep? Why are rumors (and there are also voices of the dying) that they will/be able to look back on their lives at the time of death? Perhaps, as scientists such as Einstein speculated, time stands still when the speed reaches the speed of light. Perhaps we enter a "dream" in a dream, at the time of death, and experience it in this spiritual space much faster than in reality, just as the moment is eternal. I once watched a movie, the first time I saw the absurd, the re-looking trance, just like the dream, just like the dying, the short moment can reach the eternal.

"Lola Run" is a criminal love story about Lola, who runs to save her boyfriend, to raise 100,000 marks in 20 minutes. Through watching the movie, at first I wondered: why can Lola and her boyfriend come back from the dead, and what makes life reset?

Dreams are my interpretation of these doubts. But why should we dream? Why are the contents of dreams similar? Why do the contents of dreams resemble but change? Freud once proposed: "Dreams are caused by wishes, and the time of desire is the content of dreams—this is a major feature of dreams." Dreams do not simply express an idea, but also represent the fulfillment of wishes in a way that is an illusory experience. "The similarities and differences of dreams depend on the state of the personality. Freud's analysis divided personality structures into "id," "ego," and "superego." The "id" is unconscious, basically composed of sexual instincts, at the lowest level, following the "pleasure principle"; "self" represents human reason, is influenced by external activities, and follows the "principle of reality" to meet instinctive needs; "superego" represents the moral norms of society, is the embodiment of personality at the moral level, follows the "principle of the supreme good", and suppresses instinctive impulses. Since the "original self" and the "superego" are often in conflict and contradiction, the "self" becomes a bridge between the two, and only when these three are coordinated with each other can the normal development of personality be realized, otherwise it will be on the verge of collapse.

This is very similar to the three-part story in "Lola Run". The film begins with a pendulum, the sound of time, the clash of crowds and darkness. Hunan, sound, and the prominence and omission of people are the embodiment of the elements of dreams.

1. The Self

In the first story, I attribute it to the original self. At the beginning of the film, Lola, in order to raise money, runs to find her father (who has cheated and is waiting for Mr. Meyer) to encounter a woman pushing a stroller (fate imagines), a car stealing man (fate imagination), a driving man, a bank clerk (fate imagination), and their fate is very tragic (except for the car stealing man) - women, the child is taken away by the police, and later goes to steal the baby; the car thief man is beaten, and then the female nurse gets married; the man who drives the car collides with the white car and is surrounded by 3 big men; the female clerk of the bank has a car accident amputated and later commits suicide. The self is the most primitive, the darkest part, the dissatisfaction with reality, the dissatisfaction with some people, which is shown here. Although the final fate of the man who stole the car was good, this time the narrative book was changed by the conflict and contradiction between the self and the superego. The story ends with Lola being killed.

Freud once proposed: "This new spiritual component (the superego) continues to play the role hitherto played by people in the external world: it observes the self." Commanding the self, judging the self, and threatening yourself with punishment ... We are aware of it because of his judgmental role as our conscience." Lola's inadvertent knockdown by the police is actually the role of the superego, punishing herself with her own death for her malicious speculation about others. Knocked down, Lola begins the arrival of the syllable self—the beginning of a new dream. In the bright red space, Lola and her boyfriend discuss love, Lola's wish is the satisfaction of love, but she did not get her wish, so she began to find new ways to satisfy her instinct - self.

2. Self

In the second story, I attributed it to myself. Lola continues to run to save her boyfriend, but there is an accident in the picture. The boy in the corridor tripped Lola, and she staggered and ran. She still meets women (imagined by fate), men who steal cars (imagined by fate), men who drive cars (without imaginations of fate), and female clerks at banks (imagined by fate), but also meet beggars (who pick up money from Lola's boyfriend). Different encounters have different outcomes – women, getting rich; men who steal cars, vagrants; men who drive cars; women bank clerks fall in love with colleagues (who exchange money for Lola).

Freud believed that the ego has a tendency to exert external influences on the ego and to strive to replace the dominant pleasure principle in the ego with the principle of reality. On a psychological level, the so-called pleasure principle is the original impulse of the organism to pursue happiness. According to Freud' view, it is the governing principle of spiritual function, and the goal of mental activity is to seek pleasure and avoid suffering. The principle of reality is a "variant" of the principle of pleasure, not its inner pair, and the principle of reality is a principle developed by the external world, the purpose of which is still instinctively satisfied. The principle of reality seeks maximum pleasure and minimum suffering. When I arranged the character of a beggar, I wanted to solve the problem in a way that directly returned to Zhao. The change in the fate of women, car thieves, and female clerks is to combine with reality and to revise the original self; to compensate the women in the original self in the form of sudden wealth, to punish the car stealing men who are beaten but blessed by misfortune in the form of wandering; to compensate the female clerk who was amputated in the car accident and committed suicide in the form of love (Lola's wish). Passing by the beggar and knowing ben's father led to Lola's abduction of her father and forced the bank to collect 100,000 marks. When she came out of the bank, the surrounding police did not arrest Lola, which was a deliberate protection of the ego's obligation to ben. However, the role of the superego as our conscience and its judgment is once again manifested. The money obtained by illegal means is ultimately unethical, and it punishes Lola's boyfriend for being hit by an ambulance. As a major human instinct, love desire, with the fall of her lover, the pursuit of the instinct of love has once again failed, and a new way of pursuit is about to emerge - the superego. After her boyfriend falls, the superego awakens, and in the red space, the instinct of love is once again revealed.

3. The superego

In the third story, I attribute it to the superego. If the ego and the self are likened to a relationship between repression and substitution, then the superego is the ideal. The super-self is the highest node of self-development, the super-self is the lonely me, the super-me is the fraternal me, the super-me is the faith of me, and the super-self is the perfect me.

In the new run, Lola re-encounters the woman and the man in the front of the car (the man who stole the car meets the beggar and sells the bicycle to the beggar), and helps him avoid the crash when he drives the man in luguo, Mr. Meyer. But because Mr. Meyer arrived at the bank in time, she did not catch up with her father, so she gambled at the casino and managed to get enough money within the stipulated time. At the same time, her boyfriend also caught up with the beggar and escaped back to the finances. Mr. Meyer drove Lola's father into a white sedan. On the way to the meeting with her boyfriend, Lola encounters an ambulance and saves the dying man in the car. Her boyfriend made a bad deal and ended perfectly with him (father was in a car accident, follow-up explanation). The Superego transformed women into devout believers (in the Western world, devout believers are a symbol of the sublime); the punishment for car thieves was abolished—their actions worked well for a series of other events. It is worth mentioning that Lola's father has always been punished in the self, the ego, the superego - in the self, Mr. Meyer crashed and did not catch up; in the ego, he was in a car accident with Mr. Meyer. It has to do with his cheating. The ego is the lowest, repressed, and she releases her secret, the infidelity of her father, whichever level she deserves and must be punished.

Summary

Three different dreams are manifestations of three personalities. At the beginning of the film, insert the introduction and ask questions. One of the introductions is: We should not stop exploring, all our explorations will return to our seven points and learn about the place for the first time. Man begins with dreams and ends with dreams, and from the beginning of consciousness, he is associated with dreams, and dreams accompany people's birth, growth and death. Man's life and death are opposites and complement each other. In his later works, Freud based two theories of human instincts— the instinct to live and the instinct to die. The raw instinct is an instinct for self-preservation and continuation of the race, and the dead instinct is exactly the opposite, which pursues the return to the inorganic state of relaxation without tension, that is, the death state of organic matter, which is the internal dynamic of the phenomenon of life. The instinct to live and the instinct to die are really embodied and then awakened from the dream and sink into the dream, and the tension of the province and the relaxed state of death are reflected very naturally.

Introduction 2: The game begins immediately after the game. The end of the dream is also the beginning. In fact, I can't be sure whether I am in a dream or in reality, and what is the gap and boundary between me and the dream? Is the "dream me" reality, or is the "real me" reality? Is the superego and conscience the "moral code in the dream" influencing the "conscience of reality" or the opposite? This is very similar to the "Mandela effect". As the question asked at the beginning of the film: Humans, perhaps the most mysterious creatures on the planet, are a mystery that cannot be solved. Who we are, where we come from, where we go, how we know what we think we know...

There are countless questions to find answers to, and one answer will spawn another, and so on, but in the end it will be the same question and will always be different answers? As the deepest thinking activity and psychological activity of human beings, dreams are the secrets of the mystery, and the exploration of dreams and psychoanalysis are far away.