• In the opening sequence, a woman gives vaginal birth. Although it happens quickly, the vagina is briefly seen as the baby comes out, and the woman’s nipples are briefly visible.
  • A man lies nude on a sofa, with a woman blocking his genitals. They are shown through a window. She kisses him, then climbs onto him, and mild thrusting is visible for around 10-15 seconds. When the man sees another man watching them, he jumps off the sofa and chases him (we see him nude from the back and a shadowed view of his pubic hair).
  • A man imagines having sex with a woman; we see her breathing heavily, then the man moans and it is implied he climaxes.
  • In his dream, a man imagines a woman kissing him. He wakes up once she removes her top, with her breasts visible for around half of a second.
  • In a small photo, attached to a wall, a woman’s breasts are visible.
  • Some non-explicit mentioning of pornographic websites.
  • A man makes sexual remarks about two women.
  • Women wear low-cut dresses in several scenes, exposing cleavage.
  • People mention asexual reproduction, and a man discusses insects “making love” to flowers while pollinating.

Film review:Translated by www.rabudo-ru.com


First of all, Kaufman doesn’t have twin brothers in real life, but he created a brother for himself in the film. Obviously, this arrangement symbolizes Kaufman’s own division: that is to say, twin brothers are actually two sides of a person. One side pursues poetic and plain screenwriting close to real life, but the other side is like that silly Donald, Only for sensory stimulation, there is no logic and authenticity. As a result, there is only one screenwriter Kaufman in the film.

Therefore, leaving aside all the logical relationships that torture brain cells, we can summarize it as follows: the main line of the film adaptation of the script describes a real thing: the story of the screenwriter Kaufman’s adaptation of the novel the orchid thief, and Nicholas Cage plays the screenwriter Kaufman. The complexity is that the writers in reality, in movies, and in movies are all called Kaufman. Although the first Kaufman here is famous, I have to mention that in order to understand the film, the real Kaufman can be ignored for the time being, so there are only two Kaufmans left: the second Kaufman and the role he created (the screenwriter Kaufman mentioned later in this article, if not explained, is the second Kaufman). The beauty of the film lies in its shooting method, which carefully makes the transition between the second Kaufman’s life and his story invisible. Yes, I personally think there is only one conversion point, rather than switching between reality and fiction, that is, from a certain moment, all we see is the fiction of screenwriter Kaufman, and before this point, it was all the real life of him and female writers.

Traces are well covered up, but this conversion point still exists, but where is it? It can be said that from the appearance of screenwriter Kaufman to the two brothers’ discovery of Susan’s photo on John’s pornographic website, any point on the time axis may be this conversion point. Personally, I think the most likely one is when the screenwriter Kaufman got a new idea and shouted to the recorder, “Charlie Kaufman, fat, old and bald…” from here, the second Kaufman created the third Kaufman, and then we saw everything (except the ending), including going to New York to find Susan Orlean The screenplay “3” written by seminar and Donald is favored by the boss. Both are the stories of the second Kaufman’s screenplay.

Then why is it that everything after that is fictional? This is related to the real-life intention of Charlie Kaufman in writing the adapted script: it is not only to record the process of adapting the orchid thief, but also to reflect the dilemma of a screenwriter, especially under the huge film industry system of the United States. We can regard the second half as a completely different film: car chasing, gun battle, drugs, sex and the truth of life. All those despised by screenwriter Kaufman in the first half of the film have appeared. In addition, screenwriter Kaufman also arranged the oldest model for his love story: “in love – men make mistakes, women don’t forgive – men take action to catch up with women – happy ending”. From the moment Orlean’s nude photo appeared on the computer screen, all the plots became fast and hasty. We were still embarrassed by the writer Kaufman’s submissiveness and nothing. I really hope time passes quickly, and then we were brought to the end by the story of one wave after another. The second half of the film, that is, the screenplay of screenwriter Kaufman, is a big joke, a Hollywood imitation show and a bitter self mockery.

I mentioned at the beginning that Donald is the other side of Charlie, the “Hollywood” side. Those screenwriters obviously don’t like their own side, just like Donald in the play is portrayed as stupid and indecisive. They really hope that Donald’s side is shot, thrown out of the car and killed on the ground, even if he has been silently and faithfully supporting Charlie and helping him achieve his career. The reality is always unsatisfactory. We see that Donald’s death actually only happened in the screenplay of screenwriter Kaufman. In terms of the story in the film, that is, in the life of screenwriter Kaufman, Donald didn’t die, just to confuse the audience and didn’t be photographed. Charlie and Donald still have to live under the same roof, and Charlie has to endure Donald’s stupidity and interruptions that always appear at critical moments. The dilemma is a dilemma, but things are unpredictable. Maybe Charlie will have to rely on Donald’s script in the future.

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