吞咽

爱情的选择不一定是婚姻。有时自由才是。

你吞咽了世俗的婚姻，也许就吞不下世俗的孤独。风景再美，内心荒芜。橱窗再大，内心憔悴。

你吞的下稀奇古怪的一切，却咽不下一成不变的漠视。填不满的是寂寞。有时爱人不如花园里的泥土。

那些曾经在乎你的说法，不过是他人成功路上的获奖感言。满堂溢满赞许的，未必是对你投来的目光。

女人啊，其实你生来就孤独。怎么才能找到自我救赎出路。

刷微博看到了这部异食癖患者的精神世界《吞咽》

小手飞快地找到了资源

咋说呢 中规中矩 基本没有快进 就想看看她都吃了点啥 小朋友们不要看 生理上会引起极大不适 不要学习

剧情啊 虽说是在男权一味控制下女主不得不找点方式舒压 可干点啥不好 非要吞咽点奇奇怪怪的东西 最后又拐到了原生家庭童年阴影 感觉有点脱节 后半段有点垮掉了 但女主的颜和画面色彩还是🉑️以的！！！

不幸的身世使得Hunt一直在寻找我是谁，认定我是被社会抛弃的孩子。遇到了“完美”先生所获得的一切，劝解自己“我应该很幸福”，但这样的生活越发使得她脱离安全感，如何使得丈夫爱她，如何不犯错，强大的自卑和缺乏安全感折磨着她。直到发现了“吞咽异物”所带来的安全感，当冰冷尖锐的金属触碰舌头时带来的强大结合感，让她瞬时感受到“被拥抱”“真实存在感”以及隐含的“无所不能”，以及“控制欲”。那一瞬的快感让她保持一天很好的自我存在感和安全感。最后在与生父的探讨“找寻自我”中真正地释放了自己。有人批评了最后女厕所的镜头，我却觉得非常好，最后她还是回到了属于她的世界，一个平凡的阶层，一个并没有那么体面的场合，她只是芸芸众生中不起眼的女孩。

在电影的开头，有三只羊，他们是任人宰割的羊，他们是无能为力的羊，他们是一无是处的羊，他们是女性，是像亨特一样的女性。

三只羊

他们在围墙里，他们无忧无虑，不缺温饱，但却等待被屠夫宰割，他们选择逃跑，选择挣扎，又无能为力。

这三只羊隐喻了影片中的亨利，她像只宠物一样，为富人取乐。她不能拥有真正的爱情，不能为自己而活，因为她一无是处，只能为里奇带来安稳。

在里奇升职晚餐时，亨利对里奇要求想要种花，但却被敷衍了事。她似乎已经习惯了这种状态，习惯了这种低人一等，寄人篱下的状态，于是她强颜欢笑，假装自己过得幸福，因为她需要的是爱，是一个互相的爱。

升职晚餐

在怀孕后，里奇兴奋的向父母回应，而亨特却在一旁楞着，似乎在想应不应该告诉自己的母亲。（暗示了亨特对自己出生的自责和影片后面打电话时母亲对亨利的态度）

晚餐时，里奇挑起故事，在亨特的一系列的拒绝后却也说出来了，不料被爸爸打断，和儿子聊起了其他话题，这让亨特觉得自己只是个下人，不被尊重。她无奈起来，引发起后来的“异食症”

吃冰块

后来，母亲不经允许的进入了他们的家里，给她送来了一本称对怀孕有益的书，还让亨特留儿子喜欢的长发，这也更让亨特对自我地位产生了怀疑（这里的色彩搭配很好，暗示了亨特内心的纠结）

要求

然后亨特打开了婆婆给的书，她看着书中描述的内容，误解的开始了自己“异食之旅”。她并没发现自己吃异食不好，而是觉得满足，最后上瘾。

《喜悦的天赋》

她把吃异食当做使自我价值上升的方式，她很开心，很骄傲，她想尝试着告诉里奇，却又怕他不理解，于是掩饰事实。

吃异食之后的心情

后来遇到了丈夫的同事，他似乎和亨特一样缺少关爱，他向亨特要求拥抱，却对她实施侵犯，但亨特好像并没有生气，只是躲避他，说了句“thank you”

这里暗示了亨特的讨好型人格

在孕检时，不料被查出了异食癖，医生从她的口腔取出不同的东西，这使丈夫火冒三丈，甚至把这件事告诉了同事，他们一家把亨特送到心理医生那，并请了保姆监视

保姆路易

PS:这后面有一段路易搜身的片段，我觉得女主好可爱哈哈哈哈，尤其是眼神，透着一股大小姐的感觉。

后来亨特和心理医生聊起了自己的家庭，这里讲出了自己的出身，对自我价值的怀疑和最后心理医生跟丈夫说明时内心崩溃做出了铺垫（其实丈夫是理解她的，但是这里我认为是女主自卑，不想把自己身世告诉丈夫，然后就又吃异食）

偷听通话

于是女主就崩溃了很伤心，她对自我的价值彻底瓦解，觉得自己是羞耻，是母亲的羞耻，是丈夫的羞耻，她的异食症越发严重，她想控制，躲进了床底，温柔的路易来安慰她，和她在床底睡着了（别想歪哦！路易真的好好呜呜呜）

暗示影片最后路易帮亨特逃跑

她醒过来，还是控制不住想吃异食，最后在抽屉里拿出10cm左右的柠子，吞了下去，柠子刺穿了咽喉，幸好路易及时醒来，救了她。

最后的希望破灭了，这使里奇一家想要把他送到孕儿院（应该），如果不去就会离婚。

同意书

不愿意去那里的亨特借着这个机会让保姆帮忙逃跑，她逃到了一个旅店，她向里奇打电话，说出了自己的想法，她渴望关爱，她要找父亲得到解释。但里奇却觉得她是个一无是处的废物，是个忘恩负义的人，好像没有了他就活不下去，没有了他就只能在外的流浪汉。亨特看清了他，她砸掉手机，并又异食了，吃了土。

和丈夫打电话

最后他们的关系看这个影评（好累）

侵删qwq

第二天，她无法继续住旅店，然后想住妈妈家，却被妈妈拒绝

和母亲打电话

最后走投无路的亨特想到了自己的生父，她来到了生父的家里，她看到了生父很幸福，她并没有打算住和打乱他的生活，而是想得到解释和理解。她问自己的生父自己是耻辱吗，自己像她吗？很显然，并不是，最后她理解了，然后堕了胎，开始了新生活。

（我不知道是不是堕胎，我看别人说是，但不得不说，这结尾真的很烂...）

得到理解

PS:写了俩个小时，我好苦，有些是参考了一下评论，还有这是我第二篇影评，觉得好的点点赞哦谢谢谢谢谢谢！其实吧，我开始是把这个电影当做恐怖片的，但是看完我觉得应该只是剧情惊悚就行了，讲的就是女主被各种环境，人为，心理因素影响导致的异食症，最后得到解脱的故事，不恐怖。还有就是我觉得某些人哦，真的三观有问题，有自己的想法没错，但是觉得女主矫情我真是搞不懂...我觉得我初二的素质都比那个人好了...

这个是好的

这个是不好的，真的说话好难听。

还有电影好的地方很多，比如配色，配乐，还有女主的演技，唯一不足的应该就是某些细节方面的问题和结尾，个人觉得应该在6.5分左右。

关于女人与家宅，没有比《让娜·迪尔曼》更好的颂歌了。在阿克曼的镜头里，迪尔曼每天重复同样的事情，她丝毫不感到厌倦。不妨说，她乐在其中。操持家庭，与其说是女人的职责，不如说是天分。她们为家而生。

在杜拉斯的笔下，家由女人维系着。“由女人创造出来供人安居其中的家屋，这就是所谓乌托邦的所在”。她发出感慨：“女人就是家。她过去是，现在仍然是。”虽然这一直是“一种深受限制难以忍受的情况下踏在死亡的绳索上跳舞”。（《物质生活》）

现在，我们见证越来越多的女人逃离家庭。不为工作，仅仅因为家成了囚牢。她们仍然爱家，并视其为履行妻子与母亲的责任所在。但随着现代化的进程，一场隐形的精神危机正在中产阶级家庭主妇身上发生。

危险早已悄然埋伏在冰冷的现代主义建筑中，精准的自动化操作在减少女性在家宅中劳作的同时，也逐渐取消了家宅之于她们的意义。倘若这还属于其次，那么更为严重的则是日复一日酿造的厌倦与无聊。

如果说因为天性，两性之间的相处终归会转入平淡，家宅及其自身具有的情感意义才是让女人安居家中的动力所在，那么一旦这层意义被取消，家宅就会变成禁锢天性的规训之地：男人把女人监禁在了家中。

卡罗尔（《安然无恙》）不会想到发生在自己身上的诡异症状——流鼻血、眩晕、无法呼吸……——乃是由家宅引起。她有一个公认的“幸福”家庭：住在美国郊外的豪宅中，家庭美满，衣食无忧。但问题就在这儿，现代社会为中产阶级贡献了隐形弃妇。

亨特（《吞咽》）与卡罗尔有类似的家庭，原因应该为人所羡慕。但慢慢地，她发现自己患上了一种奇怪的疾病：她会经常抑制不住自己吞食异物，并从中得到快感。医学上称此为“异食症”。

两位女性的致病因被不约而同地归结于外部世界。卡罗尔面对一个被化学分子污染的世界，最后她被送去一家与世隔绝的疗养院修养；亨特是因为她的原生家庭——她是母亲被父亲强奸后产生的罪证。

但显然，求助于外因一方面出于对观众理解力的讨巧，另一方面男导演似乎在潜意识中回避了女性的精神病症正是由他们所属的性别导致。被“禁锢”在家的贵妇面对着无止境的空虚，自我价值的无法得到实现。

家宅于是变成了一处精神病院。这可不是揭示什么深层现状，而是现实本身。卡罗尔和亨特均听从家庭成员的建议，接受治疗。但也有另外一种出路——选择逃离。

这不再是“娜拉出走”的故事，而是卷土重来。艾米（《消失的爱人》）为失败的婚姻策划了精心的报复：制造一场失踪案，通过留下蛛丝马迹让丈夫的行径暴露于公众，从而进行一场变相的“情感教育”。结果，她不仅制服了丈夫，而且“荣归”旧宅。

丝莉亚（《隐形人》）因为不堪忍受男友的虐待同样逃离了家宅，她继续面临着男友致命的报复和精神虐待。她以妥协的姿态回到了家宅，不过暗中，设计计谋让男友毙命（电影中未能解释明白的点）并抽身而退，从而获得胜利。

“过去的情况就是这样。过去，不论我站在哪一方，不论处在世界历史哪一个世纪，我所见到的女人无不是处在一种深受限制难以忍受的情况下踏在死亡的绳索上跳舞。”忍受，还是反抗？是摆在当代女性面前的难题。

Two 2019 feature debuts from aspiring filmmakers that hold fast our zeitgeist by putting a female character in the dead center. Kitty Green’s THE ASSISTANT is exclusively lensed from our titular heroine’s perspective to cast a startling light on a salient social issue in the wake of the notorious Weinstein effect; meanwhile, Carlo Mirabella-Davis’ SWALLOW, doggedly builds up a reductive dissection of a young, gravid bride’s eerie disintegration, by dint of uncomfortable body horror tropes to reify her pica affliction.

Adhering to her technique developed as a documentarian, Green adopts an uncharacteristic angle to tackle her unsavory subject matter. In THE ASSISTANT, Garner plays Jane, a junior assistant in an unspecified NYC film production company, and the film takes place during her overlong working hours on a hectic Monday. We watch her being picked up by a limousine to work long before daybreak, and follow her in clerical drudgery, see the big shots from her peripheral vision and hear things only within her earshot. By doing that, Green risks narrative clarity and leaves the scandalous skinny in connotation or off-screen, consequently the film rather invites an immediate revisit to suss the implications of every casual dialogue and throwaway joke, and for better to piece together what is going on.

Green’s strategy, not audience-friendly, but totally chimes in with Jane’s grunt-level existence in the company, but felicitously, do we really need to see those sordid goings-on with our own eyes? We shall all be thankful to Green for being so considerate in her approach, because such a canker, condoned systemically by the industry and beyond is better limned as this immaterial, omnipresent force of vileness, penetrating every couch and behind every closed doors in every office and hotel room, it is everywhere therefore it must be put paid to.

Carrying the entire film on her slender shoulders, Garner exhibits strenuous stamina and restrained body language as the doormat (Jane is a sponge absorbent of the negative outpourings of the boss’ wife) and the dogsbody (she is virtually invisible in front of her superiors and other colleagues), even the two male assistants callously exploit her newness (only being there for 5 weeks), or maybe also because she is a she, and let her bear the brunt of blame and verbal abuse. Yet, in her position, she has no right to say otherwise.

Jane aspires to be a producer, and she knows all too well that she must pay her dues and turn a blind eye on the seedy matters, if she wants to make it. But on the off chance when that actually happens, she will have already become one of the silent connivers in that toxic working environment (implied by the unseen boss’s sinister motivation). Moreover, she should considered herself lucky, according to the head of Human Resources (Macfadyen), simply because “you are not his type”, it’s all so reassuring! Macfadyen has that peculiar air of faux-earnestness, mixed with veiled hubris, to express the warped normalcy as if it is the most commonplace words to utter, whereas Garner is so utterly disconcerted and anguished in her botched worm-will-turn rebel, their exchange is the crescendo of this gritty film.

Incredibly, THE ASSISTANT plays up the working place’s drabness, impersonality and functional symmetry to keep us absorbed with its coded message. However, SWALLOW is so stunning on the eye level, the young couple, Hunter and Richie Conrad (Bennett and Stowell) are gorgeous, their affluent, minimalistic upstate NYC residence with a killer view, is often filtered through prismatic hues to emphasize the magic power of money.

But what happens inside is far less majestic, Hunter, hailed from a lower class, is maladaptive to her new ascendancy as the cinderella, who has a bun in the oven and develops an anomalous appetite for inedible things (including some small sharp objects, those swallow scenes are fastidiously arranged, and not for the squeamish). Does she subconsciously want to lose the baby? and why is that? A thought never occurs to our prince charm Richie, instead, his family hires a burly minder Luay (Nakli), a Syrian immigrant, to keep an eye on her minute by minute to forestall any self-inflict harm, solely for the safety of their precious progeny.

If the plot is piled up with unmitigated clichés (cruel, senseless rich people, good-hearted immigrants, a fable of perfect family of origin, the psychological manipulation of negging and nonpology, the list goes on and on…) and Mirabella-Davis might be a lousy fabulist, what gives vitality to SWALLOW, besides Katelin Arizmendi’s stylish cinematography, is Bennett’s metamorphic performance. A frail flower distressed by her parentage (the cat will be let out of the bag later) and conjugal negligence, Bennett, who looks like a poor girl’s Jennifer Lawrence, grandly inhabits Hunter’s compulsion, disorientation and exasperation with such astonishing finesses, one cannot take eyes off her. Even when we cannot relate to Hunter’s weird condition, we are compulsively intrigued by Bennett’s nuanced delivery and delicate mannerism, hoping some deus ex machina can materialize to save her.

Eventually, Mirabella-Davis grants Hunter a touching closure (Denis O’Hare’s brilliant cameo is exactly what the doctor ordered, he can proficiently pull off a complicated emotional range in meager minutes, though on paper, the reconciliation is still a mawkish cliché) and the final shot statically looking at a lady’s room with people come and go writ large the film's emboldened stance: pro-life and pro-woman.

When all is said and done, both THE ASSISTANT and SWALLOW are promising works well wrought by their emergent creators, together, they paint a vivid picture of the wrongs (in the working place or in one’s own home) inflicted upon women by faulty, haughty, selfish men, but they are not just reproachful to the stronger sex, their artistry underlies more hope in women’s resilience, Jane might walk the plank the next day, she can at least have peace with herself and knows better of her goals, as for Hunter, starts anew and puts aside a failed marriage, together with her psychogenic malady, scrumptious comestibles are beckoning and cinderella can get stuffed!

referential entries: Darren Aronofsky’s MOTHER! (2017, 6.6/10); Cory Finley’s THOROUGHBRED (2017, 6.5/10); Leigh Whannell’s THE INVISIBLE MAN (2020, 6.9/10).

Title: The Assistant

Year: 2019

Country: USA

Language: English, Mandarin

Genre: Drama

Director/Screenwriter: Kitty Green

Music: Tamar-kali

Cinematography: Michael Latham

Editing: Kitty Green, Blair McClendon

Cast:

Julia Garner

Matthew Macfadyen

Noah Robbins

Jon Orsini

Kristine Froseth

Dagmara Dominczyk

Alexander Chaplin

Purva Bedi

Juliana Canfield

Makenzie Leigh

Patrick Wilson

Rating: 7.4/10

Title: Swallow

Year: 2019

Country: USA, France

Language: English, Arabic

Genre: Drama, Mystery

Director/Screenwriter: Carlo Mirabella-Davis

Music: Nathan Halpern

Cinematography: Katelin Arizmendi

Editing: Joe Murphy

Cast:

Haley Bennett

Austin Stowell

Elizabeth Marvel

David Rasche

Denis O’Hare

Luna Lauren Velez

Laith Nakli

Babak Tafti

Zabryna Guevara

Rating: 6.9/10