Julie comes out of a swimming pool, full frontal nudity. She is topless in several other scenes.
Julie and a stranger dance together, they kiss, he takes off her panties and we see her, topless, on top of him moving rhythmically and moaning. Julie sees that Sarah is watching them.
A man in jockey underwear stands over Julie, who’s sunbathing. They both begin stimulating themselves.


A woman lies in a bathtub with a bare breast exposed, a woman swims in the nude (we see her bare buttocks and bare breasts briefly) and sunbathes in the nude (we see her from a distance), a bare breasted woman lies in bed, a nude woman lies sleeping (we see her bare buttocks and back), a nude man lies sleeping (we see his bare buttocks and back).
Julie talks about her sex life saying, “I was 13 the first time and I haven’t stopped since.”
Several of Julie’s pickups are seen fully filling their underwear.

Julie murders Franck as described in Violence & Gore. She is totally nude and breasts and pubic area are seen.
Julie and Franck swim in the nude, he gets out and sits on the side of the pool (his private parts are visible briefly). Julie then blows Franck while Sarah watches from afar.
Sarah seduces Marcel by showing her breasts. She lies nude on the bed, Marcel enters the room and touches her leg (she has a pleased expression on her face). We see her breasts and bush.


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


How can the film be sorted out to make it more reasonable? First of all, I don’t fully agree that Julie is Sarah’s separation. If Julie is a part of Sarah, she should be a character in Sarah’s novels rather than a fine part.

I think the key point of the film’s answer is that where and where is the plot of Sarah’s novel, or the whole story is what really happened, and there is no novel plot. Because when Sarah finally brought the new book to John, the title of the book was also called “swimming pool”, so I think the reason why there are so many contradictions in this film is that we didn’t grasp the core point, that is, where did Sarah’s novel start and end in the film, or was it a real event at all?

I combed four possibilities:

1. One possibility is that there are novels from the beginning of the film to the manuscript of Sarah’s new book swimming pool, which makes up for the contradiction of the villa administrator.

2. After John invited Sarah to the French villa for vacation, Sarah went home and sat on the windowsill. The subsequent trip was all about Sarah’s novel plot until Sarah explained the manuscript of the new book. The so-called trip to France is just the plot of Sarah’s novel. In reality, Sarah didn’t go. Why didn’t she go? I’ll explain later.

3. This possibility is generally believed in the comments that Sarah’s French vacation is both virtual and real. They think that the administrator is real, and even think that Julie really exists in the villa to some extent (just Julie during the real villa vacation in the film, which is Julia in the UK), and Sarah just borrows Julie to express herself.

4. The last possibility is also great, that is, Julie does exist, and she is John’s illegitimate daughter in France (Julie has said this in the film), which explains why when Sarah handed in the manuscript, she said, “you also have something to hide from me.”

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one

The first possibility is quite strong, but it doesn’t make sense. That is John’s invitation, because when John invited Sarah, he actually told Sarah that his daughter would go. So if this paragraph is also the plot of Sarah’s novel, she doesn’t need to make such a hard wound to her novel, because later when Julie appeared in the villa, Sarah obviously didn’t know that Julie was coming (so it’s clear that this is Sarah’s novel world, not the front)

two

The second is one of the most likely. I think Sarah has some disappointment with John (there may be various reasons, but not just love). At the same time, Sarah is tired of writing bloody murders, so she wants to ask for new changes. The most important thing is that she wants to write her own voice. So I don’t think Sarah has ever been to a French villa on vacation. The reason is that when John invited Sarah to France (this is still a reality in the play), he clearly told Sarah that his daughter would also go, and Sarah’s expression at that time was obviously unwilling and lost (because John clearly wanted Sarah to relax her writing, but why did he let his daughter go to disturb? So Sarah’s personality certainly wouldn’t go). So when she got home and sat under the windowsill, Sarah Vince welled up. In fact, she didn’t go to France, but began to write the novel at her home in London (that is, from the train to the back before submission). All the experiences of Julie in the novel, the scars on her stomach (the play explains that Sarah’s mother died in the car accident, because throughout the film, Sarah is actually a single parent family, she only has a father), promiscuity and the pain of her parents’ divorce, in fact, these are all the experiences of Sarah when she was young, All this has directly led to Sarah’s current self closure. She just borrowed the image of John’s daughter Julia (note that the original name was Julia, and the word Ya was removed) and borrowed the unnecessary murder in the novel, “Murdered” her past, and finally achieved release and reconciliation. There is another evidence that Julie’s experience is an important evidence of Sarah’s young experience. That is, Julie’s mother also wrote novels. I guess Sarah became a writer because her mother was a writer (or loved writing) Because of childhood edification. And there is another important evidence that Sarah has not been to the villa. That is, when Sarah took out her new book, John didn’t ask her if she had a pleasant trip. Moreover, if the prototype of the villa in Sarah’s novel came from John’s real French villa, John would certainly ask Sarah. Instead of asking, John focused on whether Sarah was suitable for this kind of story. So it can be shown that villas and swimming pools are not the real French villas in John’s reality. And Sarah has never been to John’s villa. In fact, she has been writing in London. Only in this way can it make sense why John ignored his journey and the villa scene in the book when Sarah handed in the manuscript. Finally, it can be proved that Sarah has not been to France. That is, when Sarah handed in the manuscript, Julia came back from vacation (when John invited Sarah for vacation, it was said that Julia would also go to a French villa for vacation, so we can try to understand this here). Therefore, if Sarah also went to France, they are more likely to return to the country together, If Sarah did go to a French villa on vacation, Julia couldn’t have known her at all.

In this way, it makes sense that Julia and Sarah don’t know each other at the end. They don’t know each other at all. The reason why Sarah stands in front of the door and looks at the intimacy between Julie and her father can be explained as Sarah’s relief, a kind of gratitude for the past, and even a kind of gratitude. She thanked Julia, a strange girl she had never met, for her inspiration, And let yourself release the past. In this way, the plot of waving at the end also makes sense. In fact, the waving here has nothing to do with anyone. It is just a reconciliation between Sarah and herself when she was young, and even has the meaning of waving goodbye to the past. It’s just that when she was young (or her past), she borrowed Julia’s name and Julie’s appearance. Here, she just borrowed the images of those two girls. It’s not significant, it’s just symbolic.

three

In the third case, I think it is possible, but there are too many hard injuries, because it makes the role of administrator justifiable, but if the administrator makes it past, Julie won’t make sense.

four

The fourth is the second most likely, but you can try to think about it. From the difference between Julie and Julia’s names, we may think that she is actually Julie because the female secretary called her name when Julia went to find her father at the end. So why not change the way of thinking, that is, in fact, Julie exists, Julie is Julie, and Julia is Julia. They are two different people. In fact, Julie herself has said that her mother and John are just a captive relationship, in other words, Julie is an illegitimate daughter. When Julie and Sarah first met, Julie asked Sarah, “are you dad’s new lover?” It can be seen that Julie has witnessed her father’s bad sexual relationship more than once. Well, Julie is just John’s illegitimate daughter in France, and her mother died in some accident. It should be a car accident, which is in line with Julie’s story about the car accident with scars on her stomach. Because in the play, Sarah sneaks into Julie’s room and turns out a notebook. There is a picture of a woman in the middle of the notebook. This woman is Julie’s mother. Since Julie’s mother exists, Julie should also exist. Secondly, there is another detail in the film. When Sarah finally handed in the manuscript, John said that Sarah wrote too implicitly and was not suitable for her, Sarah joked, “what are you going to do? Burn it? “It’s clear that it’s venting to Julie and her mother (because Julie said that John asked her mother to burn her creation) 。 Sarah is disappointed with John Bao, so she goes the same way as Julie about her father’s disregard for herself. Moreover, Sarah’s experience can frame Julie’s role as mother, that is, two mothers and daughters, who are abandoned or neglected by the same man (husband / father). How can they reach reconciliation, understand and support each other, It even kills unnecessary expectations and desires for men by killing men. And finally, through the novel, Sarah revives Julie’s mother, and indirectly retaliates against John together with Julie and Julie’s mother. Therefore, this is a return of female self and an expression of self-reliance. The wave at the end can be seen as such a question. At the end of the wave, Julia and Julie’s transformation is Sarah’s recognition of Julie (that is, even if John abandons her, she is no different from Julia, the daughter of the wife in London), and her self-identity. There is another detail at the end of the wave. I don’t know if you can see it. That is, Sarah is wearing Julie’s mother’s clothes when waving. Does this also imply that Sarah has substituted herself into Julie’s mother’s role? As for the most denouncement of this ending, it is John’s indifference after receiving the manuscript. However, here, Sarah just drew on some of the essences of Julie’s mother’s novel. Maybe the whole novel frame is different from Julie’s mother’s manuscript, so John can’t fully perceive it, but if she looks at it carefully, John’s performance was still a little imperceptible.

In fact, ozon has explained the fourth possibility very clearly. It’s only because we didn’t look very carefully. The reason why we feel confused is that we regard Julia and Julie as one person, and the character transformation at the end of the film.

So I think this film is actually one of the second and fourth situations. The fourth situation is most likely. The reason why we can’t make such a detour and understand the film as the first or third situation largely comes from carelessness and being misled by the first comment on the comment page. In fact, if you look carefully, the director has explained many things clearly. And the film is not just about the release of lust. It includes the pain of childhood, reconciliation with the past, farewell to the past, women’s self-reliance and so on.

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The fifth meaning:

With this film, lamplin expressed his feelings for his dead sister, said goodbye to the past and resurrected his dead relatives.

As for the fifth possibility (in fact, it is not another possibility about the ending, but rather a supplement to the film creation and thought), its premise comes from the anecdotes I accidentally found about lamplin and Ou Rong when shooting this film.

Sarah, the sister who reported the death of midbrain hemorrhage that year, shot herself because of postpartum depression, and her mother’s stroke began. At the age of 21, she had just made a start in her career. She was suddenly caught in the wave of depression and had a mental breakdown. When helpless, she even traveled to the Middle East and Scotland to turn to religion. In 2003, she met director Ou Rong. When she took part in the swimming pool, she named her sister for her role. “I think after so long avoidance, it’s time for her to enter my life again.”

According to this paragraph, we can learn a few points. In reality, lamplin has a depressed sister who committed suicide, and his mother fell down. Then lamplin participated in the planning and conception of the film, such as the name of the character. Lamplin hopes to bring his dead sister back into his life through this film. Well, this is actually a film integrating a lot of lamplin’s personal feelings and experiences. It is a film in which lamplin expresses his farewell and nostalgic feelings. In the film, lamplin takes the name of his dead Sister Sarah and his dead mother for the protagonist, which strongly reflect his own life experience. In this way, the waving at the end has another meaning. It is a symbol of lamplin’s waving goodbye to his dead sister. It also indicates that lamplin wants to release the painful past through this film, because movies and books have this kind of magic, which can revive the dead and dead. We can stand in the perspective of the person who left to understand what she / he would do if she / he was still here and at this time. We can make them live forever through words, light and shadow, We can know what she wants to express, which indirectly expresses our feelings. So this film also has the meaning of remembrance and remembrance. Of course, only she herself knows how many personal stories of lamplin are metaphorized, such as the passive state and experience of women in the plot, and how many can correspond to lamplin’s real experience. But anyway, she finally met her sister and waved goodbye to her past.

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