Film Review

(Movie information: Sanfu, directed by Chen Guo, written by Kee-To Lam, starring Zeng emiko, Chen, Mai Qiang and Deng Yueping, Hongkong, China, 20 18).

She has long been called "Little Sister" by them. As a symbol of women, she is universal in the sense of gender. Her seductive appearance and special physiological structure make them flock to her, because she is similar to the legendary Lu Ting and has become an evil spirit they are trying to conquer.

However, conquest, sympathy and love have nothing to do with this. The former focuses on the release of pleasure, and completes a one-time transaction with cash after the sensuality is satisfied, and achieves the psychological superiority of men to women under the development of fancy "sexual skills". The latter is the exclusive possession of emotional experience, omitting the link of paying the bill but emphasizing women's dominance and control. Both of them are under the ravages of the lust of women's bodies, and the male sense of independence is highlighted, which has deep-rooted social and psychological roots.

In the movie "Three Husbands", Miss Sister uses her "unsatisfied" physiological structure and low IQ brain to become a mirror to show the true nature of human nature, exposing the hypocrisy and filth of male autonomy. This time, under the strong impact of bold nude pictures, she expressed profound humanistic feelings with real sensory experience.

My little sister's low IQ makes her a plaything for men, but no man can really meet her physical needs, which makes her a magical existence with great psychological temptation in the male world. It is not so much that men are throwing money at their young sisters for fun with the rumors in the Jianghu, but rather that they all have the desire to try to conquer the witches in front of them, so as to satisfy their poor and illusory sense of superiority as men.

This sense of superiority is regarded as a kind of "success" by men who pursue pleasure, which runs counter to the success in the secular sense and reveals the darkness of men's psychology. At the beginning of the film, the four-eyed teenager went to the mainland to call prostitutes, and met a Hong Kong woman who went to the mainland to be a "chicken", which directly and simply showed the darkness of male psychology. Although the four-eyed boy was punished for soliciting prostitutes, his association with a Hong Kong woman who was a "chicken" in mainland entertainment venues was enough to make him complacent, and his return to Hong Kong became an erotic experience boasting to friends around him.

In the company's view, even if you were arrested by the police without having a physical relationship with this Hong Kong woman, it would be a kind of "success" that would make your inner mind instantly taller. This "success" can make four-eyed children look down on women and their own understanding and cognition of sex.

The four-eyed boy who is familiar with the legend of Lu Ting thinks that women are evil spirits, and his conquest of them is a legitimate appeal under the guidance of the legend. This puts a seemingly serious but absurd reason to call prostitutes and have fun. It is also a reflection of men's gloomy psychology, soaking women's dignity with deliberately arranged fallacies and heresies, and solidifying the so-called superiority that men are actually vulnerable in humor.

A four-eyed teenager who went to the mainland to call prostitutes had an intersection with a Hong Kong woman. She was a "chicken" when reciting the legend of Lu Ting, and was later punished by the public security. Similarly, under the recitation of "Legend of Lu Ting", Siyanzi married his little sister and formally completed the marriage formalities, which dispelled his inner meaning.

This wedding realized the yearning of four-eyed teenagers for Lu Ting's legend in recitation, which can also be regarded as the embodiment of romance at the individual psychological level. For Xiaomei, it is her own temptation accompanied by the temptation of the taboo status of "wife" among the guests, which predetermines the female-dominated flip in the second half of the film.

No one showed formal respect for the wedding. As symbolized by the legend of Lu Ting, the men attending the wedding showed great interest in Xiaomei. Driven by this interest, rumors about Xiaomei continue.

The continuation and spread of rumors stimulated the men who attended the wedding of four-eyed boy and little sister, making these men destined to be satisfied guests of little sister in the near future. The film doesn't unfold the little sister's experience in the form of tragedy, but under the ridicule of daily life, it gives the audience visual pleasure and quietly introduces some understanding. Because the little sister's physiological needs can't be met, Siyan had to let her return to her old job and start a flesh business on the dilapidated wooden boat when she came. Rumors spread like wildfire, and not only did the friends of the four-eyed boy flock to get what they needed, but even the workers who were recovering at home followed with bandages on their heads. Compared with women who simply meet the physiological needs of sensuality, the conquest of breaking taboos will boost and highlight men's psychological superiority. Therefore, the metaphor of the movie is no different from the truth of the relationship between the two sexes in reality. The former forms a disguise of hardship through various symbolic scene changes, while the latter is a cover-up of the psychological desire that can't be confided to others.

Miss Jie tore open the illusion of a world with her own body, and all the men who sought pleasure in her showed their ugliness naked. This is ugly beyond evaluation. They are just men's bodies in the eyes of little sister. These bodies are so simple and direct to an unknown place in the sacrifice of evil spirits. Under the guidance of my little sister, it is sexual satisfaction, which depends on sex and floats on the climax of pleasure. ...

(End of the full text. Written on July 202 1, 12)

About the author: Wang Xu. The pen names used are Wang Muyu, Xu Muyu, Xu Muyu's bookcase, and Wang Xu 326, who lives in Chongqing.