A prostitute is in the office of an older man, while a younger man is there. She is made to take stand naked for a long time, submit to emotional abuse, then crawl under the desk of the older man.
Film review：Translated by www.rabudo-ru.com
The car bumped up from the back and sat on the front hood, then tilted to the right, and finally fell to the ground. There is no sound of rapid braking, no dull sound of impact, no painful groan of falling to the ground, falling down, and falling down slowly – when an accident in a moment turns into a slow process in front of the camera, what is the pain? So lying on the ground, Paul touched his head with his hand and said, “I’m not dead. I won’t start over in the past. There’s nothing…”
A slow mirror technique seems to eliminate the tragedy at the moment of the accident and deviate from the pain that should be in normal time. Paul’s annotation seems to explain the sublimation that life has nothing to do with the body. There is no death now because the past is dead and the past will not come back, It is because now everyone has escaped: Yvette, the wife who just grabbed her hand and touched her face, and Cecil, an 11-year-old woman, left without calling for help after seeing Paul fall to the ground. They turned into two black silhouettes in front of Paul and left the scene quickly step by step; The woman sitting in the car that hit Paul was the sister of Isabel, a prostitute who had a physical relationship with Paul. She wanted to rescue, but the man next to her wanted to escape; Paul is talking to Yvette about “we’ll see you once a week later”. In the camera, it’s Dennis galloping along the road on his bike – four women are leaving, and they completely constitute the four dimensions related to the body in Paul’s life: family, marriage, sex and violent love.
Therefore, “I’m not dead” seems to have them who let Paul forget the physical pain and escape from another dimension. As a foil, Paul saw indifference and numbness, escape and leave in his life to death. However, when a life unfolds in the “I’m not dead” of self talk, it also looks like self comfort, In the dilemma of falling into the abyss of the body, death and immortality are only the difference in form, or being hit by a car has also become Paul’s fate that he can’t escape – they are escaping, Paul can’t escape, the same reality, the same dilemma, just like the words Dennis wrote in his book: life, slow pace, reaching out, explosive, irregularity, Artificial actions, constant empty work, resistance, lengthy time, useless changes
The words of a novel are written there. Dennis always licks the black pen with her mouth, and then lowers her head to write. Her mouth can’t write words. She’s just used to “speaking” with parts of her body. When speaking with her body, does the broken language have the attribute of body? Dennis is writing about himself and Paul. As lovers who have maintained a relationship for two years, they spend some time together, but more often they are separated. This is a kind of separation between love and sex. At first, they worked together in the television production department and enjoyed the sex life related to love. Originally, this was the most direct and emotional experience of Paul and Dennis for the body, but when the differences became larger and larger, the body also changed from sex and love to violence.
Paul took Cecil, his daughter in football training, home and met Dennis halfway. At first, they hugged and kissed Cecil, and then talked about a shooting plan. Dennis began to get angry and said that the plan was originally his own responsibility, but it was later changed. He scolded Paul, saying that he said “fascists”, and then threatened to resign. Paul began to dodge, sat in the car and said to Dennis, “do whatever you like!” Turn around and go. This is a fission, not the beginning, and it doesn’t seem to be the end. After that, Dennis really resigned. She rode her bike to a farm to “work” – taking care of a cow instead of Paul who took care of him for two years. During this period, they also met and met, but almost every time they no longer had that hug and kiss, but endless quarrels: at the gate of the cinema, Paul said to send her back, Dennis would not let him send her, and then one forced one to try to get rid of it, so they quarreled in full view of the public; In the apartment, when Isabel, a prostitute who had sex with Paul, pushed the door in and saw Paul suddenly get up and then jump on Dennis opposite. The action of an instant burst became extremely slow in the slow mirror technique, which transformed the original action into a hug, but the hug was nothing more than a form of physical violence, Isabel asked, “she seems to be hurt.” Paul replied, “we can’t touch deeply except for beating.”
Beatings become hugs, and physical violence becomes a form of in-depth contact, so the final result must be “injury”. Finally, Dennis and Paul met at the station. Paul in the cold wind waited for Dennis to arrive, but Dennis got off the bike and said the only sentence: “I’m not sad.” He immediately turned around and rode away. A bicycle, a woman, is Paul’s last memory of the body. When he passed those racing drivers who rode a bicycle but were not alone, when he finally faced his guilty wife and daughter, the car accident came – the car accident hit his body. At the moment of falling to the ground, even the body finally lost its meaning of existence.
In the physical dimension of Dennis, there are two kinds of life related to Paul: the physical dependence with his wife Yvette and daughter Cecil; And Isabel, which corresponds to two themes: life and business. Paul and his wife Yvette keep the habit of meeting once a month, and the purpose of meeting is to provide them with a check in life. This is a proof of the breakdown of family relations and a deconstruction of the physical relationship related to marriage. Even after Dennis left, Paul proposed to change the meeting time to once a week, which is a sign of compound, but it only has a formal meaning.
But there is a more subtle physical relationship between Paul and his daughter Cecil. Paul is Cecil’s father and provider of Cecil’s life, that is to say, Paul is Cecil’s creator of the body. The physical involvement of the father daughter relationship has gradually become a violation of ethics in the estranged life. He can hardly remember Cecil’s real age. Is it 11 or 12? When Cecil was picked up that time, he asked the football coach a question: “do you want to touch your daughter in person?” The idea in his mind is that it is easy for a mother to touch her child, but it is unfair for a father. Cecil’s body is slowly developing, and Paul seems to begin to spy on her body. When he meets his wife, he gives Cecil clothes and says in front of Yvette, “take off your clothes and let me see if your chest is big.” It seems understandable for a father to talk about his daughter’s body in public in front of his wife, but such covetous growth of a body is beyond the scope of care as a father. In fact, Paul’s attention to his daughter is a correction to his own physical alienation in a sense. He doesn’t know the exact age of his daughter and is eager to touch her body, He is a father who is obviously divorced from his daughter’s physical meaning, so he hopes to reshape a physical father image in close contact.
But for Paul, whether it’s sex with Dennis or family love with Yvette and Cecil, it deviates from the normal needs of the body. It’s this deviation that makes him more and more indulge in the sensory experience of the body, whether it’s the assistant who is eager to sexually assault him in the hotel or the female ass facing the cow on the farm, Both reveal the physical existence in Paul’s life with a metaphorical solution, and finally Paul chose the prostitute Isabel, and their path of physical intercourse began with “watching movies”. There were prostitutes standing at the gate of the cinema. They accosted the waiting men and quietly came up to talk about price and service. The man with the newspaper said, “you can’t build a relationship by strength.” It also notes that the pure physical relationship can only move towards one kind of transaction, and Paul and Isabel are comforted by each other in the “sale”.
From Paul’s physical needs to Isabel’s betrayal of the body, this actually provides an interpretation of the body. Isabel also had a lover. The man named Keith had something to do with green grass, wilderness and sunny weather in her memory, but finally, under the pressure of life, she became a prostitute. When she stood in front of men and lay in bed, she was just a body. However, her existence does not satisfy men’s physical desire like Paul. Her body derives men’s imagination: an old man asks her to put on her clothes, knocks on the door from the outside, and then says to him, “Dad, my daughter has come to see you.” Then pretend to be a father and daughter and make up for the lost family in the touch of the body – isn’t that the lost part of Paul? A boss is in the inner room, in which there is a male main assistant and another prostitute, so in the carefully designed scene, there is a game about power and obedience in the world of lipstick, leather shoes and painful commands.
The body can become family affection and can be imagined as power, but for Isabel, the most direct acquisition of the body is money, and money brings stability to life, so she said to her sister, “happiness is a stable life, so I’m very happy.” A sense of satisfaction has nothing to do with the body. Her sister wanted to borrow money from her, but later asked her if she could let herself do it for a month or two, and Isabel asked her sister, can you meet the special requirements of those guests? “They are going to insult us.” Isabel said “insult”, but in fact, like any profession, she only called this insult a special requirement, so the physical meaning only has professional characteristics in her, and it is this characteristic that is bound no matter what profession she is engaged in. When she was found by her boss, she was dragged into the car, pulled down her pants and spanked directly. As a warning, the boss asked her to repeat a sentence: “everyone in the world is bound, whether it’s a secretary or a prostitute, whether it’s a housewife or a countess.”
No matter who they are, they are not free, and this is the reason why they want to escape, and the purpose of escape becomes “music” after life, anxiety and business: in the station, the man plays the organ and the woman holds two children and sits there. Paul saw this scene, Dennis saw this scene, did they envy or feel strange? A life separated from the body is vividly displayed in front of them, which provides them with a text to escape in the sense of imagination. Isabel began to write novels after she resigned to the farm, and this is the “imagination”, as she said to her friend Piaget, “this is my dream.” Lick the pen with her mouth, and then write a sentence: “I never thought I was 32 years old. Crystallization and smoke are the two forms of death…” the novel let her leave the physical world temporarily. At that time, Isabel was sitting next to her. She was a reader and writer, in front of the old man’s window, Isabel once conceived another novel in an imaginative way: “there are tramps lying on chairs, seagulls flying in the sky, and old women sitting on benches dealing with their heritage…”
Their survival, their business, are like a kind of escape, “I’m tired of this city, too.” This is Paul’s cry. In the city, they are not free seagulls, but constrained people, so this is actually a deviation from the self situation, just like the article written by Paul’s daughter Cecil: “in the past 200 years, crows gave up the forest and became birds in the city.” Crows are originally in the forest. When they become urban birds, they are constraints, alienation, invasion and return. Everyone seems to be eager to escape this alienation, escape constraints and return, but it is more difficult to escape. And this state of being unable to stop but eager to escape related to the body actually provides a model, that is the “Duras complex”.
Paul was originally a director, and his name was Godard. Once in class for students, the video was “Cain and Abel” – a betrayal, that is, Paul’s degenerate transformation from film director to TV editor, so he said on the stage: “I’m trying to kill time to make movies.” But beyond his sense of powerlessness, he provided a person we were eager to see: Duras. Everyone asked, is Duras here? And Paul said, here she is, next door. Then a girl stood up and went out. After a period of time, the girl came in and told everyone: “she’s here, but tell her not to move.” She’s here. Was she there? Or does it exist? It is motionless, like a symbol, refusing to “kill time” movies, refusing to betray faith, and refusing to collude with others.
So Duras never came next door, and when Paul and Dennis hugged and kissed, Dennis asked: is Duras here? Paul told her that she had gone to the airport, so there was a later quarrel – at first, as a metaphor of art and faith, “Duras” was next door, and then he left completely, just like Duras’s voice: “silence is around the work, and silence is created by language.” But in the rest of the narrative about the body, it is a prying that has nothing to do with family affection, a touching that has nothing to do with marriage, a violence that has nothing to do with sex, and a game that has nothing to do with pleasure. Finally, only the man named “Godard” felt the most direct pain from the body to the body in his life of slowly moving towards death and in the reality of “respective escape”.