想(xiǎng )到上车前看见(jiàn )的(💌)那道(🔁)影(yǐ(🚱)ng )子，她打开门(🔵)，宋垣果(➗)然站(🛹)在门外。飞蛾兽(⛵)后(👼)退数(shù )步，握紧手(shǒu )中的大刀，砍向库伦(⛴)克。穿着一双破拖鞋，左脚的拖鞋脚(🔩)底板(➰)还(🍻)破了个洞，几只(🍙)苍蝇不远(yuǎ(💡)n )不近的飞在(zài )宋森林的(♈)(de )身(shē(🍾)n )边。Rivetteisrelativelypreciseinhisdealingswithmeaning.HeisthemostatavisticallyceremoniousoftheVague,inthesensethathisabstractionasajourneyleadinginwardsisalwaysattendedbysignsandcodasthataffirmourpassage.Thetranscendentriteofpassage,inmorewaysthanone,isaboutthesymbolicenactmentthatpavestheway.Thetranscendenceitselfislefttooursphereofexperience,butwereatleastbroughttothedoorstep.Oh,therestheimprovisationalflowthatseemstothrowpeopleoff,thatthingsseemtoberandomlybubblingupfromnothingwithoutsignificantplanorsubstance.Thechanceencountersinaworldthatwemayrecognize,thegeographyvaguelyfamiliarwhosenatureisyetultimatelyinsoluble.Theresalotofthathere.AsinCeline,itisthebreathingspacethatconductsourpreparationtostepbeyondthemechanismsofreason.Wedontreasonwithit,rathertrustitsintuitiveflow.Likethedreamworld,itisonlythefigmentoftheknownworldspontaneouslyarisenasastageorblankslatefortheatavisticportentsanddivinationsofthesubconsciousmindtobewrit.Buttheriteofpassagematters,inspiteoftheseeminglyaimlesswandering.Hereitisabouthumanefforttobypassthewallofparadiseconstitutedbythecoincidenceofapparentopposites(goodandevil,lightanddark,beingandnon-being).Abarrierthatobscuresvisionandtrapsinaworldofnamesandformsthatisonlyanapparentreality.Renderedinthefilmastwingoddessesofsunandmoon,vyingforapreciousstonethatenablestheirdescendintothehumanworld.Thehumancharactersaremerepawnstotheirschemes;tobeseduced,tricked,threatened,orultimatelydestroyed.Twinfemmefatales,weavingspellsinaninversenoiruniversemagnifiedintoamacrocosmicstruggle.Theill-preparedmanwhochancestostealaglimpseofthemintheirtrueform,likeinthemythofActaionwhostealsupontheGreekgoddessArtemisbathingnakedinapool,hashisconsciousnessshatteredbytherevelation.Hismirroredimage(thesoul,thereflectedhalf)iscracked.Thewomanwhofinallyshatterstheillusionarydualitythatquarantineshumanconsciousnessintomeaninglessdilemmas,doessobyasacrificeofblood.Andthisistheproblemofthefilm.Somuchofitisastridentlysymbolicenactment,amatterofceremony.Thesacrificeis,quiteliterally,amatterofspillingblooduponthesymbolicstoneanddoesnotflowfromanything-itissimplytheschematicendofthespiritualmyth.Althoughvaluableasinsight,themeaningofthefilmistrappedinsidetheritualsperformedtosignifyit.Havingcrackedtheoutershelltoabsorbit,thefilmseizestoresonate.他们一(yī )辈子(⚽)种地，当然(💢)知道那(🍉)粮食几年(nián )之后(🖲)就会收成少一年(♊)(nián )，都是正(zhèng )常的(💄)，最(zuì )好(🌺)的(de )办法是，种一次之后换一年种别(🍢)的(🐢)(de )。现在没办法(💜)换，本(🐠)身暖(🏛)房种出来的大麦只能勉强糊(👕)嘴，如果(🥢)(guǒ )要(yào )是换了别的，只能饿(🧒)(è )肚(🗼)子了。换东西种这条路(🧒)走不(bú(🆘) )通，就只(zhī(❗) )能换下里面(miàn )的土了(㊙)。它们既(jì )能与动物(wù )形成互惠互利的关系，也可(🍕)(kě )以像我们星(♍)球(qiú )上的任何生物一样具有攻击(🐂)性、竞争性和戏剧(🤕)性。被(😕)导弹锁定的攻击(🔩)18放出(chū )大量的热(😭)焰弹，让后一(🌖)个漂亮(liàng )的落叶回旋(🚇)贴着海面(🌄)跑掉了。师父也(yě(🧗) )暴病身亡(wáng )，璎珞孤身(〽)一(📶)人，挺(🔺)着身孕，重返梨园(yuá(🐺)n )啊嘞(🐓)，召唤妖精女仆的(❇)暗号是什么来着，我忘了……算了(le )，先(🉑)不管这些了。