All the truths of the world can be seen here.
Films based on labels such as violence, eroticism, religion, ethics, and homosexuality have often been isolated from the mainstream, such as South Korean director Kim Ki-duk and Japanese director Yuen Zi-win, whose image styles are known for being "perverted" and whose evaluations are also quite polar.
Love is like a god, hate is scorned, and there is rarely an ambiguous middle ground.
If everyone doesn't know anything about director Yuan Ziwen, it is really not a lonely and unheard-of. But it would be unwise to deny the artistry of Yuanzi's warm heterochromatic films and their unique and long-term influence in the camp of Japanese film directors.
After all, well-known Japanese actors that we know and love very well, such as Hikaru Manjima, Sakura Ando, Shota Someya, and Fuchido Tomi, have all appeared on camera on a "large scale" because of their respect for The Talent of Yuenzi Wen, giving way to the bottom line of the "shame" of the actor's performance.
Can't help but wonder, why can Yuan Ziwen, who is deeply involved in cult films, receive such fans?
After watching his four-hour-long "violent" work "Exposure of Love", everything is clear.
Yuan Ziwen is quite keen to push typical special cases based on real events into a state of extreme, religious fanaticism. "Exposure of Love" just breaks the illusion of fanaticism, and also uses the individual's desire for the purest and most natural emotions.
Original sin is one of the most important teachings of Christianity, and it is also a thematic satire of "The Exposure of Love".
It is not only the best commentary for insight into Yuan Ziwen's life experience and artistic claims, but also a faithful philosophical reflection on the ultimate of human nature under the appearance of antitheism.
The film constructs a world where three groups of characters intersect, with Yu Kakuda (Takahiro Nishijima), Yoko (Hikaru Manjima), and Furuike (Sakura Ando).
All three are "victims" of religion and patriarchy, which has also been misinterpreted as "original sin" itself.
Kakuda Yu sinned because of repentance, and his father Tetsu Kakuda "forgave" because of his vulnerability.
As a priest, Tetsu Kakuda is seduced and abandoned by Eve, the woman who passionately exposes her love, and forces her son Kakuda Yuriri to repent of himself, exposing the fragility and hypocrisy of human nature.
His harshness and repression of his son Kakuda Yu is actually a self-doubt and scorn.
From Eve's defection to her return, from scolding her son in repentance, "Your sin is to forget your sin" to "Don't think for a second that you are a good person, that's hypocrisy", from "You are not serious, I am disappointed" to apologizing to your son "I am also vulnerable, after all, we are human beings".
The awakening of the father and the fall of the son are a reverse development, and Kakuda Yu, based on his belief in the father's love, acts evil in the name of religious belief. Originally an ordinary high school student, he later got into a fight and became a "pirate photographer", secretly photographing girls' underwear, which is called the art of stealing.
Kakuda's original intention to commit the crime seemed strange, childish, and crazy, "My father is a priest, so I am going to commit a crime."
But therefore, he was classified as a villain, a scum, and felt inaccurate, Kakuda Yu's behavior was evil, but the goal was to win the father's love, find true love, find his own Virgin Mary, and fulfill his promise to his dead mother.
There is no doubt that sex and fornication are anti-religious, and Kakuda yu uses it only as a means of awakening his father to become a "father", not involving the exploration of moral struggle, but only as the most primitive desire to find all the truths of the world.
What is quite cruel and ironic is that the director tells us through the film that all the truths of the world can be seen in one place, that is, between the legs of women.
Eve's temptation is the origin of original sin.
In "The Exposure of Love", the original sin of men and women is finally reflected, Kakuda is superior to Furuike, and Yoko is to Kaoru, to some extent, can be regarded as two sides of one person, the same origin of original sin.
Unlike the cold violence of Kakuda's father-son relationship, the Koike father-daughter relationship is based on hard violence, the former is evil for courtship, the latter is evil for self-preservation, and they are both existences with the smell of original sin.
Gu Chi's father was also a model Christian in the eyes of the outside world, but he did satanical acts toward his daughter. From an early age, through violence, he injected the seeds of sexual sin into his daughter Guchi, "your body is obscene", "making love is a crime against humanity", and eventually led to the collapse and bottoming resistance of Guchi.
She destroyed the male symbol of her father, deceived all the adults who believed in the purity of young girls, and went from tradition to madness and became a member of the cult Zero Church.
Kakuda Yu was chosen to perform the sacred act of "stealing", and Furuike was chosen as the leader of the Zero Church because of the smell of original sin in their bodies, but what was this smell?
The elders of the "pirated" art told Kakuda that "all sacred deeds are punished by the world", and the elders of the Zero Church told Guchi that "God will torture the chosen".
Zero, the end of the journey, is the answer. They were chosen to examine original sin.
The collapse of hypocrisy, or the conversion of love, is extremely displayed in Yuan Ziwen's lens.
Obviously, kakuda and Furuike's tragic fate is the result of excessive patriarchal intervention, and Yoko and Kaoru tend to be quite brainless fanatics of love, so they are also extremely easily confused by appearances.
Yoko's father is a "sex addict" who disregards moral and social rules, and behind the promiscuity lurks sexual desire for his daughter. He spoke with such a penchant for his part that he elevated patriarchy to the level of complete mastery.
"I want you, I'm a real father, so you're mine, and what I love most is you."
Unlike Furuike, Yoko did not crush her father's authority, but instead passed on her anger or ran away. She lived as a dead body, depressed every day, often falling down, trying in vain to break everything that was visible.
She never called Daddy, she identified him as a lewd bastard, and he hated almost all men.
One of the father's women, Kaoru, unable to stop her desire for the priest, rescues Yoko and takes her to hell.
Yoko and Kaoru, plunging headlong into the fantasy of love, mistakenly think that they have escaped the fate of loneliness, but in vain.
Yoko does not recognize kakuda Yu, a true love who dresses as a woman, and mistakenly falls into Furuike's same-sex trap. Kaoru spun around only to find out that the man she wanted to marry was father Tetsu Kakuda, the man she called a beautiful rapist.
The two of them have completely opposite values and ethics to love, but this has not affected the positive results of their pure love drama.
All the protagonists, out of faith in religion, strayed into a cult and experienced nirvana, or martyrdom, or rebirth.
Anti-morality is not about sin, and anti-theism is not contempt for faith.
Director Yuan Ziwen himself has also strayed into a cult because of confusion, and based on his personal bizarre experience, "The Exposure of Love" can be regarded as a self-reflection based on real events.
The three religions and the "victims" under the patriarchy, Kakuda Yu, Yoko and Furuike, have all completed the sacred religious ritual, "God will torture the chosen", went to hell to gain insight into the truth of the world, and Nirvana was reborn.
Furuchi drives Kakuda Yu crazy and commits suicide by cutting off his abdomen, in a vain attempt to continue as Kakuda Yu's puppet. But the divine finally returned, and Yuan Ziwen used the simplest and most essential answer, love, to dissolve all sins.
Kakuda Yu noble candid photography, careful, selfless, bold, just don't let people discover, find their true love.
Yoko, who sees the essence through the phenomenon, awakens Kakuda Yu, who is lost in the female character, and gets love.
Even Tetsu Kakuda and Kaoru have returned to plainness and love.
Yuan Ziwen, who puts in the "big scale" of blood, violence and religion, turns out to be a story of pure love.