Although it is a collaboration of two top Oscar actresses.
But the first thing that attracted me was the story.
A 36-year-old married woman had an affair with a 13-year-old boy, and the whole country was shocked by ** and was imprisoned.
After being released from prison many years later, the woman braved the world's condemnation to start a family with the boy, and in the years that followed, she had three children.
So, the age structure of the family is that mom is close to 60 years old, dad is in his 30s, and the eldest child is almost 20 years old.
They are not shy about the events of the year, and even become social experts because of their enthusiastic personality.
Someone sent her anonymous stool, and she didn't care, at most she moved and changed her life in the city.
Her story was taken by the film company and wanted to be made into a movie.
In order to understand the character, the actress delves into her family life, interviews, and excavates the inner secrets of each family member.
Playing the actress is Natalie Portman, an Oscar-winning actress.
Playing the heroine of the indecent love is Julianne Moore, the Oscar-winning actress.
May-December
The director is Todd Hines, who made "Carol".
Therefore, at the beginning, I also thought that this film was another "lace attack and defense" of two top actresses.
But I grossly underestimated.
The director didn't shoot an indecent story with Hadazi.
Instead, through the actress, a legitimate interloper, he spied on the power structure of this nondescript lover in their daily emotional relationship after they "achieved positive results" and became "ordinary couples".
The role of the actress is a stroke of genius, she is not a journalist, she is not purely documenting, but she wants to completely dedicate herself to the relationship, digest, absorb, and understand.
In the end, through his own performance, he reinterpreted this relationship.
The story begins with Grace (Julianne Moore) having a house party with her husband Joey, who is 23 years younger than her.
Happiness knows no bounds. Elizabeth (Natalie Portman), an actress in casual clothes and sunglasses, enters the family for the first time, and the children ask her for autographs, and she does chores, eats family dinners, and asks questions that everyone can think of.
Polite, but, out of place.
Elizabeth wanted to ask Joey to talk alone, and Joey said, you can just ask my wife to talk.
For the first 30 minutes, you will feel that the actress played by Natalie is so weak, and the momentum is held back by Grace, who has made countless headlines.
Through her constant visits, she let us know how Grace and Joey hooked up more than ten years ago.
But that's all.
But don't forget, Elizabeth is an actress in the film, a good actor.
She decided to bring the show forward.
She went to Grace's daughter's school to share a play, and a bold boy asked her:
When you were filming a bed scene, did you ever feel emotional?
Elizabeth not only did not feel offended, but replied meaningfully:
"Sometimes, I don't know if to pretend to have pleasure or pretend not to have pleasure.
And then there's the famous scene from the movie:
Elizabeth finds the warehouse where Grace and Joey had a relationship, and she simulates the passion of the two in a dark aisle.
She "unconsciously" exudes charm in front of Joey.
She plays the White Rabbit in front of Grace - the long shot where Grace puts her makeup on is too meaningful, one strong and the other weak.
One pretends to have pleasure, the other pretends not to have pleasure.
When the two turn to the audience in unison, the micro-expressions are ever-changing.
The feeling of being the best of each other.
At this point, Elizabeth completely devoted herself to this deformed and ordinary family.
She observes, interprets, guides, and even destroys.
In the process, she showed overly complex emotions such as **, disdain, jealousy, ridicule, and excitement.
It takes the audience into an indescribable black situation, and at the end of the story, detonates into a sense of intense discomfort.
The ending is absurd, ironic, with a hint of disgust, and even a sage stateSelf-pity.
Writing about character conflicts and emotional clashes from this angle is really much more than I expected.
After the film was screened at Cannes, there were comments that Natalie's performance was crushed by Moore.
I completely disagree with this statement.
This role is not very difficult for Moore, and she expresses it steadily and accurately.
But, it was Natalie's performance that made this story happenComplex internal tension.
How she hunts for information, how she pretends to be hunted, sometimes pretends to be happy, sometimes pretends not to have pleasure.
She wrote "character biographies" for everyone in the family and gave her own judgment one by one.
In the last scene, Natalie's performance is very dramatic, but this is the most accurate irony of the whole movie - Natalie performs a "sense of dissociation" with her superb acting skills.
performed her on that familyDisdain.
But as I said, the biggest attraction of the movie is not the mutual acting skills between the two actresses, but the director's winding narrative perspective.
He told a bloody story so breathtaking + touching + disgusting and uncomfortable (praise), and portrayed two of the women so complex and terrifying.
This year's Oscar for Best Screenplay, I choose this one!
Imaging Power Program