Imhonet said I'd like it, and as usual I wasn't wrong. True, it is "liked" differs in the first half, when it is close to the delight of closer to the final, when it became, firstly, painful, secondly, a little even soapy and, thirdly, in places simply unclear.
If at the beginning I fully understood the main characters, their torment,
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Imhonet said I'd like it, and as usual I wasn't wrong. True, it is "liked" differs in the first half, when it is close to the delight of closer to the final, when it became, firstly, painful, secondly, a little even soapy and, thirdly, in places simply unclear. If at the beginning I fully understood the main characters, their torment, their inner problems, which inevitably transferred to their relationship, which was not glued to, then towards the end, when the characters realized that they are good together and no one else is not good - that's what a silence is, in addition to the desire of the writer and then the screenwriters to show what absurdity people can reach, despite love. In general, I liked Marianne much more and I understood her actions better, despite some destructiveness. Under given conditions, her decisions, her actions, her ability to refrain from “saving the lone wolf” and to decide for two (which usually means for the other) are sympathetic. Connell's actions, especially in the student part of the film, raised questions. He almost never behaves like a man in the conventional sense, not only that he does not make decisions, but also expects others to take them for him. And it doesn't evoke sympathy. Though the eyes are amazing :
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