I hate this body forever ── "The Skin I Live In"

Pedro Almodóvar...To be honest, I don’t want to start with the author’s argument. I guess everyone knows that his camp taste and melodrama-style bridges (both words are not easy to translate into Chinese). Do not wash the bleach. The same is true of his latest work "The Skin I live in" (adapted from Thierry Jonquet's "Tarantula").

Looking through the files, it turns out that I have never commented on any film of Al Mu Duhua. Was it my unintentional mistake, or I deliberately ignored it? I think whether it is "Broken Embraces" (Broken Embraces) two years ago or this film, the discussion should be cautious of spoilers, which is quite nerve-racking.

The skin is the skin of the flesh, the original gender of the flesh and blood, and there are various imprints of identity-our face reveals my race, and also shows the state of mood at this moment; relatives and friends recognize who I am by appearance, and look at it. Time leaves marks on the face; there are flesh and blood interpersonal communication before the face, and there are many memories and traumas after the face. The doctor in "The Skin I Live In" (Antonio Banderas) is a master of human skin. His profession has both good and bad sides. The good side can improve human skin, and the bad side can distinguish the above-mentioned division from The mark is all obliterated. Therefore, his human skin experiment has a high moral hazard, and some bosses and colleagues disagree with his work.

The film’s plot unfolds the situation, the situation brings up problems, and the problems confuse us-"The Skin I Live In" is a story of revenge. Revenge involves love and righteousness. It must be reasonable and reasonable. However, the scale of revenge is very difficult to grasp. This is the source of our confusion (The Secret in Their Eyes in 2009 is an excellent example). In "The Skin I Live In", Vicente made a big mistake. At first, his motive was only to have a good night, but he accidentally caused the doctor's daughter to commit suicide. Since then, the doctor has no wife, son or daughter, so he uses a strange trick to revenge.

As for Al Muduwa's own trick, he used Stockholm syndrome-the hostages were threatened, reluctant, and involuntary, and turned to sympathize with the prisoners and even offered a helping hand. This kind of contradictory psychology, in the hands of Amour Duhua, turns love and righteousness, male and female, love and hate upside down, which is dazzling (the previous conviction: "Tie Me, Tie Me" [Tie Me Up! Tie Me Down!], 1990, with Antonio Banderas as the actor). Until the end, we didn't know where Vicente's heart was and where to go, and at that moment, we saw the character's full of irony and gossip experience, and we were already dumbfounded.

On the one hand, "The Skin I Live In" is full of traces of melodrama, such as the characters falling into memories, silently guarding the biological mother of the illegitimate son (of course the son doesn't know), and the brothers are mutilated (of course the two don't know who each other is), The lies and departure, trust and betrayal of lovers, as in the past, Al Mu Duhua gave these old elements a new personality. On the other hand, Ai Mu Du Hua also used many cultural symbols, such as the books of Alice Munro and Cormac McCarthy, and the works of Louise Bourgeois' art, to allow the audience to study and understand (it is not difficult to see the similarities between Louise Bourgeois and Ai Mu Du Hua, The younger brother’s tiger model may be taken from the Spanish painter Dali, representing violence).

"The Skin I Live In" is a very good suspense movie. Although I don’t like Al Mu Duwa’s approach to immoral thinking (a lot of voyeurism provided, the use of lynching, the lack of professional ethics of doctors, etc.), but I have to Admire his skill in storytelling, and at the turning point, people were stunned.

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