Film Review of Sleeping Beauty

This film records the turbulent human nature and capricious fate with a seemingly calm lens, and shows the weakness of modern women in a patriarchal society with sex as an opportunity. The women in the story didn't fully wake up, and they continued to move forward according to the original route and endured. These three stories all appear in an unfinished state, suggesting that women must redeem themselves, and it is unreliable to expect men.

Korean director Han na Lee is known as the female version of "Jin Jide". In this film, she reveals the destruction and shaping of sex in female consciousness with three subtle stories. The film is named after the fairy tale "Sleeping Beauty", and its basic details also reflect the interlacing and integration of fantasy and reality.

The first story

Among them, Du Yan learned to ride a bike with the help of his cousin. Du Yan accidentally fell off his bike and hurt his calf. The cousin who came quickly covered the wound with a white shirt, but the blood left a blooming flower on her shirt. This open flower of blood symbolizes the arrival of the first sexual experience between Du Yan and her cousin. At the same time, this flower is Du Yan herself, and she is about to bloom under the cover of her cousin. After that rainy night, Du Yan found that she had menarche. Similarly, the blood once again formed a figure-crescent moon. The moon symbolizes women in the philosophical image, and it is cloudy. The appearance of the crescent moon shows that Du Yan's beginning as a woman is incomplete or imperfect. From the change of her cousin's attitude the next day, it can be seen that this experience is just a game, a teenager's teasing. After cousin left, Du Yan held his nails in her hand one by one, and she already liked him, but he didn't want to stay. This story shows that the different weights and symbols of sex in men's and women's hearts boil down to a very common proposition: men are sexual for sex, women are sexual for love, or love because of sex. The awakening of sexual consciousness is more groundbreaking for women. After understanding or experiencing, a woman will bid farewell to the girl's mind. Everything is different for her, and she is destined to start her youth alone. This is also a metaphor that Du Yan suddenly learned to ride a bike and finally sailed away alone.

The second story

More like a woman's angry and helpless monologue. In this story, the color of fairy tales appears in the plot of Yili burying ducks. Yili, who was tortured by her insane father, saw her father's pale face when she buried the duck. The film deliberately buried her father and duck together, in order to make the audience mistakenly think that her father and duck, which have been bothering Yili, would disappear from her life. However, exhausted Yili came home to see her father who had made a mess at home, although the old man was crying in his mouth while holding Yili helplessly. The existence of father is Yili's lingering nightmare, and the disappearance of men is also due to the existence of father. In the film, Yili asks her father with a straight face, "You just don't want me to be happy, do you?" At the end of the film, when Yili reaches into her father's pants like an epiphany, she successfully convinces herself to become a volunteer in this unconscious rape. It's hard to say what Yi Li's final compromise represents, whether it is a submission to her demonic father or a final abandonment of sex. We only know that Yi Li, who was crying at dawn, has not finished her nightmare.

The third story

This is the favorite story of people who have seen this film, because it is more like a fairy tale with a princess and a prince. Su Jin's experience extremes the subordinate position of women in a patriarchal society, but everyone sees a bleak world. In order to immigrate to Korea, the mother gave her daughter to someone else. This is Su Jin's initial subordinate position as a girl of 17 years old. She succumbed to the selfish desires of adults. Su Jin, who entered his adoptive father's house, has been enduring inhuman abuse from his adoptive father. Not only is she tortured every night, but she also has to do heavy housework the next day. The only female mother-in-law seems to be insensitive to this, or the mother-in-law as a woman can only be subordinate to the power of the adoptive father and can do nothing about Su Jin's experience. In the film, Su Jin, who sleeps on the floor, is innocent, and her mother-in-law sitting on the side brings her a bamboo pillow. This detail depicts that although her mother-in-law is distressed by Su Jin, she has no right and ability to change the status quo. Su Jin, who succumbed to her adoptive father, observed her body in the moonlight every night until one day her stomach swelled instantly in the moonlight. This fairy-tale detail once again uses the symbolic meaning of the moon, which also shows that Su Jin was far away from her innocence and fate at that age. Although the prince is famous in Feng Ling, he is a weak and sick boy. The early death of his parents left the boy devastated and addicted to depravity. In the Woods, he breathed poisonous gas again and again. He said, "The world is on the edge of my life ..." Such a weak person is doomed to be unable to save Su Jin. When he fled to the hospital with Su Jin, he tried again to escape responsibility and reality in that way. At the end of the story, Su Jin, who has been playing the weak, suddenly became calm and calm. She held the teenager's hand like a mother, smiling and letting the hot blood stay.