This movie has strong adult themes with gay relationship being the focus. Male nudity is seen as well as full frontal female nudity.


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


In Germany in the 1970s, Franz, a 20-year-old boy, was lured by OPA, a 50-year-old rich businessman, changed his sexual orientation and began to live together. OPA has a hot temper, and their personalities are very different. Their relationship is good and bad. Later, Franz’s girlfriend Anna and Vera, OPA’s former boyfriend and now transgender woman, came to their apartment. Anna soon fell in love with OPA. Vera felt that OPA would never love her again. In despair, Franz took poison and committed suicide late at night. This is the main content of dry firewood and fire by French handsome director Francois ozon.

Most of Ou Rong’s films are like stage plays. The scene is fixed in a house, and there are few shots out of the house. In this “dry wood and fire”, the characters are concentrated in OPA’s apartment, and there are fixed scenes in each room. There are few moving lenses. More obviously, the story is divided into four paragraphs, which are directly marked with act1, 2, 3 and 4. Everything is the way of stage drama.

In ourong’s films, homosexuality and bisexuality are common, and this one is no exception. Almost every film tells the story of lust and love. He never arranged a complete and equal love for the characters in his film. All the stories are unequal, filled with erotic inequalities.

The beautiful boy had a gentle, kind and beautiful girlfriend, but when he was a teenager, a dream he couldn’t forget made him feel good for the 50-year-old handsome man in front of him. In that dream, he was having sex with a man. The first erotic inequality appeared.

Junlang lover used to have a boyfriend. His name is Vera. But they no longer meet. Yes, he just likes young and beautiful boys. He is an unavoidable burning and painful nightmare for these boys. The second erotic inequality appears.

What fascinates me is the composition of a picture. When Franz and opal face the window and tell each other their stories, they stand in two windows. Opal has a potted flower on the left and a corner of the curtain on Franz’s right. The picture is symmetrical and stable. Then pull it out quietly and slowly, which makes people think. The same composition is reflected in Franz’s conversation with Anna. Between the two windows is the window lattice, which is dark. That is a gap that no one can cross. That is the missing part of the value in the lust inequality. Without it, the inequality will never be solved.

They are two generations after all. Franz likes pop music. Opal wants to be quiet. Franz was careless, opal was meticulous. Despite the fact that Franz had become opal’s erotic slave. Slaves have a deep-rooted attachment to their masters. Opal didn’t stop Franz from leaving, but he didn’t succeed in the end. I was thinking that if Franz really left, whether it was to go to Anna or find another lover to keep him, it would be a good way to break the deadlock. But how can Ou Rong tolerate such a vulgar plot? So a more wonderful play will begin again. The first opportunity to solve the lust inequality was ruthlessly abandoned by Ou Rong.

In the dark, Franz, who loved OPA deeply, felt so desperate. Then Anna came. So, there was no darkness and late night. Anna, a beautiful and sexy woman, naked, swept the obscure lights and boundless darkness of OPA and Franz in the first half. When she opened the curtains without reservation, the bright day appeared in the film for the first time. It was she, no doubt she, who made Franz decide to leave OPA and be a normal person, a lover and a father. This time Franz is really going to leave. He doesn’t want to be a fire fighting moth anymore, shaking his young wings in despair. Then, the erotic inequality will be solved, and the story will develop in another direction. Of course, this could not happen, because ourong knew that OPA should come back, so when Franz asked, “why did you come back early?” I lost my voice and laughed when I was. This is a common technique in melodramas.

There was an unexpected turn in the story. Anna, who was originally hostile to OPA, fell in love with him for a while. She also complained to Franz, “Why are we leaving?” “You didn’t tell me he was so handsome.” Thus, the third erotic inequality appeared.

The appearance of Vera, the fourth erotic inequality that is more confused, makes the dull film reach a small climax. So I was surprised by the scene of four buttocks twisting. I was surprised at the strange combination of song and dance and drama by Ou Rong. In eight beauties and a thousand beauties, flirtatious women sing and dance. OPA, Anna and Vera danced with relish, while Franz was at a loss and seemed so confused. He didn’t know what to do. “Go to the bedroom!” The women ran over with shrill laughter. OPA said to Franz, “won’t you go?” Yes, aren’t you going? Why don’t you go? You seem to have to go. Franz, deeply confused, finally knows that you can never expect someone to love you. He wanted to kill him. In his fantasy, he shot OPA who was having sex with two women. But that’s impossible, isn’t it? He won’t kill him. He is so kind and loves him so much. Ou Rong wouldn’t like such a tacky plot. So, there is only one way left, that is, suicide.

In the cold room late at night, he was wearing Vera’s windbreaker, taking medicine and lying quietly. Vera came out. She couldn’t stand OPA’s indifference to her. In the silent night, the two people abandoned by OPA talked bitterly. In the bedroom, Anna and OPA are having crazy sex. You know, that’s the beginning of another Franz, another sexual inequality.

Looking at Franz’s pale freckled face, I suddenly wanted to cry. What a poor child that is. His parents divorced early, and no one wanted him. He drifted to the age of 20, thinking he could find happiness, but he fell in love with someone he shouldn’t love at the wrong time and in the wrong place. He wanted to die. Finally, he called his mother, who answered him indifferently. So he felt at ease. No one in this world really cares about him, likes him and loves him. He looked at Vera slowly, but he didn’t think it was such a woman who accompanied him on his deathbed. He knew that if he still loved opal, he would become another villa. Do you have to pay such a high price and pain to fall in love with someone? He wanted to be free, so he quietly closed his eyes. Late at night, the last lonely soul died before dawn.

It is the consistent practice of many directors, including Ou Rong, not to be rigorous about death. More ironically, OPA only called Franz’s mother, who showed indifference again. So he said to the crying Anna, go to the bedroom. Soon he left poor Franz and went into the bedroom. At a loss, Vera tried to take off her windbreaker from Franz, but she gave up. Instead, she wanted to open the window. The house was full of death. However, she could not push it. She struggled, her hands lying on the window and crying. The camera pulls away and the film ends.

Perhaps there is no OPA, OPA is just a symbol, which is a common target of human lust. Women, men and transgender people must release all their erotic desires and find an object to vent. Lust is never equal to love. What ou Rong wants to tell you is that all the passions in the world are inequalities that cannot be solved, measured, verified or even grasped.

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