What did you say before sunrise? How to evaluate?

Character: a man and a woman; Time: after meeting, before dawn; Venue: Vienna; Event: a aimless wandering, everything is clear and straightforward without any imagination, not about the plot, only about the details.

What's his name? What was her name again?

It seems that this is just a casual mention when they symbolically told each other that his name is Jesse and her name is Celine after they got off the bus in Vienna. And it doesn't matter, because in this sleepless night, in this city where no one knows them, they don't need to use names to confirm each other's existence. They only need to witness each other and their own lives with confession, which makes them no longer belong to a name, a social symbol, but only to themselves and each other.

On this frank night, they met frankly, without assumptions and precautions. They not only face each other truly, but also face themselves directly, even against themselves. Those meaningful conversations are not to please each other, nor to show off their profundity, but to discuss themselves in an all-round way again and again and show their tacit understanding again and again. They told it to themselves, and then they were lucky enough to meet someone who understood it, so Jesse said, I often dare not face myself and escape from myself, but with you, I feel very relaxed and liberated.

The scene of two people calling their friends in a coffee shop can best strengthen this kind of confession. They pretend that the other person doesn't exist in this space, pretending that they are talking with an unrelated person about this woman or this man around them and their feelings for this man or this woman. Is this a harmless conversation? It is better to say that this is a confession in the face of one's intuition, an indirect but absolutely true confession in the face of the other party.

The significance of this encounter lies in this kind of confession, which implies a kind of soliloquy in the middle of the dialogue to complete a dialogue with the self. Based on this confession, this night is more profound than the decades before and after they met, because this night's confession is at the expense of their absence in the previous decades and their separation in the latter decades. This night is unique, belonging to a specific point in time, not to the past, not to the future, but to the present. Because this confession gives meaning to this encounter, the night is surprisingly large, not only the breadth of the dialogue continues to expand, involving death, anger, fate, time, the social roles of men and women, and the most subtle feelings inside, as if to tell all the feelings of life, but also encounter various metaphors: mysterious women who tell fortune, homeless people who write poems, etc., and their words seem unintentional. Another meaning of this encounter is to develop into love, but even if it develops into love, it is only an encounter at first. Although the encounter between men and women always has some ambiguous emotional elements, this love is only subordinate to this encounter, and it is a theme-free variation of this encounter. Just like a painting they saw on an exhibition poster, Celine said that she liked the painting, and she liked the feeling that the characters and the background in the painting were almost integrated. The surrounding environment is more noticeable than the people in the painting. They also know the proper procedure and ending of this encounter, and embed their behavior and emotional efforts into the framework of the encounter as the background. They can watch the posters together now, but they can't watch the official exhibition together in eight weeks.

Celine said that she was most afraid of the consciousness in the last few seconds before death, because you knew you must be dead. But isn't their meeting a kind of conscious death? From the beginning, they knew their separation tacitly, but this clearly realized separation still couldn't stop her from chatting with him, getting off the bus with him, sharing her experiences with him, trying to communicate with him, and being like a real couple with him, so that in the end, she even had to change her original intention of being just a passerby and fantasize about meeting in the future.

Perhaps this is the most difficult knot to untie in emotion. On the one hand, we imagine and really hope for a lifetime, but at the same time, we are afraid that the boredom brought by time will eventually make love precipitate into a habit and erase it with the beauty we once had. People sometimes sincerely pray that this moment can stay in a very happy situation, rather than cherish the present, it is better to fear the present, because we don't have the courage to have this kind of happiness in the future. But on the other hand, emotional factors make people want to stop, and they can't completely break the eternal thoughts. This is probably because men and women are constantly entangled in the problem of seeing and seeing in the future in deep understanding. Jesse said that he always felt that if I could accept the fact and his already difficult fate, he might not be so angry and so painful, but the key point was that he didn't want to accept it at all. Isn't love the same? I have doubts and hopes at the same time, but even if I don't fully believe it, I can't help praying.

So when Jessie asked why people always felt that their relationship must last for a lifetime, Celine agreed that it was stupid. There must be some grapes that they couldn't eat, so she simply said it was sour. Finally, I was envious and unwilling. When they face this problem, they still can't really be that open-minded, or they will be reluctant to go, or they will talk about the date of meeting while emphasizing that they don't like to maintain their feelings deliberately. "Is this really our last night?" "Are we really never going to meet again?" People who ask questions are people who can't let go, but isn't that why people can't let go?

"You mentioned before that in the next few years, a couple will start to hate each other and know everything about each other, so they will get bored. I think I will have the opposite development. The more I know about a person, the more I can really love him. He can comb some kind of hair, which T-shirt he will wear and what stories he will tell on some occasions. I believe that will be the truest realm of my love for a person. " This is Celine's attitude towards love before she left Jesse, which vaguely reveals the simple feelings like flowing water and some possibility of continuation, and makes people believe that the highest state of love is plain with good wishes. With the departure of the railway station, the love derived from meeting will further develop, because they are as trivial as all parting people and reluctant to let go.

But when they are confused about maintaining a relationship and sealing up a kind of beauty, they forget another possibility that makes love lose its original bright red color, that is, returning to their respective lives, meeting people in their respective lives, and then naturally forgetting each other. Maybe at this moment, they thought that the wonderful meeting would make them unforgettable, but many times I don't know where I came from this confidence. Self-confident memory can compete with time and life, and the weight of self-confident emotion is equal to the weight of time.

Norwegian Forest is an unforgettable youth with cherry blossoms flying. When people reach middle age, Watanabe can only secretly confess to himself with the Beatles' old songs: "It will take me some time to remember Naoko's face like this. Moreover, with the passage of time, time is getting longer and longer. It's sad, but it's true What I can remember in the first five seconds gradually becomes ten seconds, thirty seconds, and then one minute. " At that time, sad and resentful Naoko didn't say, "I hope you will always remember me and me." When we are afraid of the destructive power of inertia together and the invasion of forgetting separately, what kind of exit does the relationship have?

The last few shots of the film slowly swept through the place where they walked together, burying the cemetery of the unknown dead; In the long and narrow aisle, they are used to sitting on a round stool by the window; Meet the fountain of fortune teller; Wash countless bodies in the water into the silent river on the shore; Watching the grass of the stars while drinking, the bottle fell on the grass. At that time, I suddenly thought, if these fixed scenes have memories, are they more resistant to the erosion of time and longer than our memories? If one day these buildings can't stand the test of time and eventually decay and collapse, will we still remember the footprints we left on a street and the feelings floating in a river?

The possibility of meeting each other finally has a sequel, which makes sense, just as neither of them expected such an encounter, and no one can predict whether they will meet again in the future. It's just a sequel What about the sequel? Do you choose to forget after saying goodbye again, or are you really like a branch in the river, and we can walk through the long river of time hand in hand? There is a line in the movie I saw many years ago: the movie has an ending, but life has to go on. Who wins or loses in time and love is not decided by a movie.

"Don't let time deceive you. You can't beat time. In the midst of troubles and worries, life passes vaguely, and time will have its own preferences, tomorrow or today. " Time's ruling on this encounter made me realize the fragility of emotion in front of it, which may be another meaning of this encounter.