A Korean film

Shadow name:?

Director: Han na Lee

Language: Korean

Country of manufacture: Korea

Release date: 2007

Simplified Chinese name: Sleeping Beauty

Imdb number: tu445 1740

Starring: Kim Ja Young, Nalie Lee

Alias: Sleeping Beauty

Introduction:

The first story: Du Yan's memory.

Movie bill

One afternoon, Du Yan, a fifth-grade girl who was alone at home, put her hand into her underwear while she was asleep, regardless of the phone ringing at home, frowning nervously and expectantly. ...

The bad news of grandma's death came, and Du Yan followed her mother back to the countryside to attend the funeral. A mother who has never cried, a depressed and eccentric uncle, and a cousin who is one year older than herself but 30 centimeters taller than herself, Du Yan opened the door of her life at the last ceremony when her grandmother's life ended. The conversation between mother and uncle has always been ambiguous. There seems to be something hidden in it. Mom and Dad's divorce is full of doubts, but Du Yan didn't take it to heart. She is just curious about her cousin. Woke up in the morning and lived in a room with her cousin. Du Yan turned around and frowned again under her cousin's eyes. ...

After seeing off the condolence guests, the rest of the people crowded into a small room to watch boring programs. Du Yan got up and left the room. At the moment of guarding the door, she looked back at her cousin who was watching TV intently, and her face was full of worries. Du Yan, sitting alone outside the house, met her mother's lover and saw the man leave in the rain. Later, the cousin who came out sneaked into the deserted school with Du Yan. In the classroom of Class Two, Grade Five, two children have a leisurely sexual journey like adults. ...

The next day, Du Yan found her menarche, but her cousin, who was gentle yesterday, showed indifference and impatience to herself. At the moment when she couldn't tell whether it was dusk or dawn, Du Yan rode a bicycle she had just learned on a narrow road in the country. ...

The second story: Eli's anger.

Yili is a country woman with a dull expression. She keeps a flock of ducks, has to take care of her senile and demented father, and has to endure the ridicule of women in the same village. Life is not easy. One morning, she found her husband or lover sneaking away. At this time, because of the ravages of bird flu, the ducks she worked so hard to raise had to be forcibly buried, and her only relative, her father, tortured her like a demon. When she bathed her father, his father actually put Eli's hand on his lower body, mumbling and enjoying his face ... Angry Eli bathed his father again after burying the duck, and the lying father grabbed her hand again. Eli instinctively pulled out his hand at first, but after standing for a while, Eli took the initiative to put his hand into his father's pants. ...

Near dawn, Eli's father's face was shrouded in the morning light, and Eli lying next to him was sobbing weakly. ...

The third story: Su Jin's blood.

Su Jin, a Korean girl of 17 years old from China, was sold to a rural villain in South Korea by hooligans in order to let her mother immigrate to South Korea as she wished. Su Jin, who was admitted as an adopted daughter, was deprived of her virginity by her adoptive father on the first night, and then took on heavy housework and farm work. The adoptive father also has a grandson. The handsome young man turned a blind eye to Su Jin's arrival. He never eats with his family. He goes out early and comes back late. Pregnant Su Jin often goes to the nearby Woods to hum songs alone when her adoptive father falls asleep after venting his animal desires. One day, she found a fainted teenager under a tree, and the teenager's skirt was stained with blood ... Su Jin, who took the initiative to help the teenager wash his bloody clothes, seemed to win the favor of this indifferent teenager. He took the initiative to help Su Jin clean up the pasture, telling her that "antlers are flying ..."

On the pretext of going to the city to see a doctor, Su Jin and the teenager started their first strange date. After coming back, Su Jin and the teenager were severely "taught" by their vicious adoptive father. That night, the adoptive father retaliated and sexually assaulted Su Jin, whose belly was like a dome ... When it was dawn, Su Jin went to the grove again. She experienced the feeling of being on the edge of life with teenagers, and then laughed and cried in the heavy rain. ...

Back home, Su Jin and the teenager met the evil adoptive father again. He kicked Su Jin in the stomach like a red-eyed beast ... In order to protect Su Jin's teenager, he stabbed his grandfather to death with a knife, and the desperate journey began. At the end of the story, Su Jin held the boy's hand and calmly let the blood flow through his white calf at a station ... She bid farewell to the baby in her belly, and the boy around her was as fragile as a child.

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. In the first story, Du Yan learned to ride a bike with the help of her cousin. Du Yan, who accidentally fell off her bike, has a catchy calf. The cousin who arrived quickly covered her catchy calf with a white shirt, but the blood left a blooming flower on her shirt. This open flower of blood symbolizes the arrival of Du Yan and her cousin's first sexual experience. 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 is 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 quilt 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 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. ...

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.