Anna accidentally pulls up a clothes line instead of a line of flags in one scene, resulting in a pair of undergarments on the line momentarily being positioned in front of her where they would be worn.
Sven looks at his reflection in a shop window where a mannequin sporting a dress is displayed and his position makes it look like his reflection is wearing the dress.
The Northuldra recoil slightly on first seeing Olaf, to which he explains that he ‘finds clothes restricting’, meaning that he is effectively ‘naked’. As he is a snowman, nothing is actually shown.


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


The screenwriter of Frozen II (2019) is Jennifer Lee. When I watch a movie, I finally wait to see the director to see who the screenwriter’s name is. I think the name is worth remembering. In the first film, I didn’t pay attention to who wrote the script and who directed the film. The first film is a very dynamic work and a very simple story. I just watched the film and didn’t want to think about the film from the script level. The second one is much more complicated, which makes me concerned about the script.

In my opinion, this is an exquisite and magnificent film. Delicacy does not mean that the picture is exquisite, but its exquisite story structure and the internal meaning conveyed by exquisite metaphor. Grandeur does not mean the grandeur of the scene, but the grandeur of its inner spiritual world, which supports the grand perspective of life of the whole story. The whole film presents a script created with full enthusiasm and careful thinking. It is neither clever nor perfunctory. It is very powerful.

The patriarchal humanistic knowledge structure is unable to interpret the film. Because this is a fantasy world supported by matriarchal civilization and goddess civilization and constructed by women’s real creativity. The film is about “the lost will eventually return”, that is, the return of the goddess and the return of women, pointing to the future of a female center.

The symbol of the four spirits in the film has an ancient cultural background. Later, the clue of the film is that Aisha finds the truth, which is also the truth of her own life. From the relationship between Aisha and fire spirit, it has been suggested that Aisha (female) is the goddess who runs through everything, that is, the symbol of nature itself. The law of women is the law of nature. Aisha’s return is the return of women, and the operation of the world can comply with nature.

Later, Aisha’s process of “conquering” the water spirit is the display of this female principle. Aisha rides the water spirit horse to the truth of herself and returns to nature, which also contributes to the impressive magnificent pictures of the film. Water is a female symbol of the root of life. This will connect Aisha’s ice and snow magic through understanding the origin of water. Water has a memory. I love this sentence very much. The essence of Aisha’s ice and snow magic is not cold isolation, but the water of life that nourishes all. Aisha is uncomfortable in the role of the patriarchal queen inherited from her father. Her magic power and her life essence are misunderstood and bound. Because her pattern is nature.

Another closely related to the law of women and the law of nature is the Earth Spirit. It is also significant that the Earth Spirit in the film is guided by Anna, a woman without magic. Understanding the Earth Spirit is also the key to understanding the meaning of another heroine Anna. The earth is the goddess itself in the cultural consciousness of the matriarchal era, and all creatures are attached to the earth. Later, the rise of the patriarchal gods took the God of the sky over the earth and stole the power of the ancient Earth Goddess. The crisis of Aisha and Anna kingdom is caused by the narrow male king (paternal grandfather) breaking the covenant with the northern people. It also implies that the relationship with nature has been destroyed, the ecological environment has deteriorated, the forest is shrouded in fog, the goddess is absent, and the four spirits have no natural operation under the guidance of the goddess.

Anna’s distress experience is mainly encountering the Earth Spirit giant. She fell into the water to avoid the Earth Spirit giant and walked into the dark cave. When Aisha was frozen, she sent a signal to Anna. It was a deep sisterly love and a deep sisterly heart. Anna read Aisha’s message. When Aisha was trapped and Xuebao disappeared, She finally came out of the dark cave, went to the Earth Spirit giant, bravely and firmly called the Earth Spirit to destroy the dam and relieve the mistakes of the patriarch. This cave is the metaphor of the earth and the depth of the earth. Xuebao disappeared safely as a spiritual life there. Anna rose up from sadness and got strength from love, that is, a metaphor for getting strength from the earth. The cave is death and rebirth. Anna who came out of the cave could call the Earth Spirit and persuade the soldiers loyal to the royal power to change their mistakes in the face of the truth. At this time, she was completely a real queen, so when Aisha said you were the queen, the result came naturally, I think it is very persuasive. The story and characters go there, and everything is the best arrangement. So we can understand that Anna is actually another embodiment of the goddess.

In my opinion, a magical forest is not only a symbol of the natural way of life operation, but also a revelation of women’s laws and a reflection on the consequences of violating women’s laws. It can be said that the idea of the script is very grand and precise.

In this context, we can further see the matriarchal power principle that the goddess world in the film relies on. We can look at the two works of snow and ice, in which the change of power relationship and inheritance is very interesting. In the first part, Aisha’s throne is inherited from her father. Aisha is arranged to become the queen. She must be terrified to maintain the dignity that a paternal queen should have. Then Aisha goes from trembling to self out of control and loss to power awakening.

The second part traces the origin of the Aisha sisters’ mother, and finds the answer to life and the world. According to the expression of the maternal power area, it is looking back on the mother’s fate. Finally, Aisha not only awakened her strength, but also awakened her greater life consciousness and completely extended her freedom. Aisha returned to nature, and Anna ascended the throne. In the second book, the meaning of Anna’s throne is completely different from that of Aisha in the first book. Anna’s kingship is given by her sister, that is, by the goddess. We can understand it as the natural power inherited by women.

Anna in the second part is no longer a woman who yearns for true love and waits to be saved by true love, but a woman who stands up from the dark to the light. In fact, she becomes the queen through self-choice (destroying the dam, doing the right thing and taking responsibility for everyone). The power relationship between nature and secular is a kind of maternal relationship (real kinship, not forged paternity). Anna’s power is rooted in her sister and nature itself.

When the goddess returns and the woman returns, everything is straightened out. The curse is lifted, the fog dissipates, the forest sees the blue sky again, and the reindeer run. I think it is the most stretch, freedom, grandeur and shock of the whole film.

Snow and sea are two representative works of the new generation of female fairy tales. Generally speaking, the ocean romance is regarded as a work that highlights the independent power of girls, in which there is no prince, while the ice and snow romance arranges a love relationship for Anna. However, in fact, the old world view of the two works is very obvious. Whether there is a love relationship is only superficial. In depth, they both tell about the growth of girls under the background of a paternal marriage and family. Isaanna has a father and Moana also has a father. Moreover, Moana’s father is still prominent, and the mother’s existence is very weak, which is the weakest point of the film, What makes me most dissatisfied is that in the end, Moana inherited her father and became a sheikh, but the weakened image of her mother is a lingering shadow. In fact, this also reflects the defects of the film in the pattern, that is, Moana has no female alliance and no female inheritance. Although there is some inheritance given by grandma, this inheritance is quite meaningless because of the wrong image of her mother (in fact, Moana is not the descendant of her mother, but the descendant of her grandmother, which is due to the strong obstruction of patriarchy). Therefore, the narrative pattern of ocean strange fate is so basically because it does not think deeply about the origin of women’s power. It seems that it is not easy to have a second part, nor can it remedy this defect.

The existence of parents in the ice and snow romance is relatively weakened. The film let the parents hang up soon after the opening, focusing on the sisters themselves (women’s Alliance), which is the fundamental reason why the ice and snow romance can move towards the grand pattern of the second film. In the first part, the father’s existence is still more prominent than the mother. His wrong constraints let Aisha suppress her power, but his mistake has also been denied in the first part. The power of snow and ice 2 is that it does not avoid coming from the old world. It allows the root of women’s power to appear (women’s inheritance), so as to turn the old into the new. The film begins with the mother’s Ballad (this song is so beautiful) and re establishes the new narrative background of the mother’s origin. The sisters trace back to the source from the mother’s love and ballad to find the truth of their own life and reach the truth of the world (the law of women, the natural root of life). Moreover, the logic of the two film stories is not broken, and skillfully and naturally completed the changes from paternity to mother, from patriarchal castle to nature. When Aisha returns to nature and Anna becomes queen, the whole world view of the story has been greatly updated.

The two works should be regarded as a whole, which is why I think the second is the best sequel film I have ever seen. In short, I think the snow and ice fate 2 is better than that. Like Aisha and Anna, it is a film that dares to face the difficulties, face the shadow of the old world, bring a new world with women’s creativity and dream for the future. It is a brave film.

The film reveals that women’s frame of reference is nature and life itself. Not a man, not love.

Film is of great significance to women’s life awakening and divine awakening.

Aisha’s becoming a goddess, discovering the truth of herself, has the meaning of finding a position. Her awakening is to understand that she should stand in her position. In the film, it is shown that she lives in the center of the four elements and that she lives in the north. This is the mother and the hometown of the goddess. This is the return of the goddess.

The return of the goddess symbolizes the return of women. Anna became the queen in the earthly incarnation of the Earth Goddess, which is more prominent. I think the film has issued such a fable that women belong to the first sex as the root of life, the gender order belongs to nature, and moving towards a female centered world is the future of mankind.

It can be understood as three levels of female awareness. The first level is to see that the film deduces Aisha’s divine awakening and becomes a goddess. The second level is to see that the film not only plays a goddess Aisha, but also another goddess Anna, which deduces the divine awakening of Anna without magic as a secular goddess. The third level is to see that the film is not only performing two fairy tale goddesses in the fantasy world, but telling every woman in the real world that she is talking to us. Every woman has divinity and calls for women’s divine awakening.

Every awakened woman is a living goddess.

Bless women.

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