Inanna was originally a boy, his wife Greta Vigina is a painter, just need a female model, so she let her husband dress as a woman as her model, did not expect to paint works are very popular, Copenhagen is full of portraits of Inna, in 1931 Inna through surgery to transform herself into a woman, becoming the world's first transgender person.
From the beginning to the end, in the gray-blue sky and gray background, the cool color system and the short music like "All the Time", tears are wrapped in the eye sockets and gush out several times. When I doubted whether the tear point was too low, I really did not dare to approach the final outcome. Because you already know what kind of ending it is, it is not a perfect reunion. The aura between Eddie and Alicia is not strong at first in the film, but the classical temperament of the two close to the era is well compensated. With the advancement of the plot, the tension generated between the two gradually supports the entire screen, and the tacit understanding of the husband and wife constructed by Aina and Gerdain has become an indispensable other half in life and sisterly affection, such a complex emotional entanglement is gradually postponed in the whole process of the film. At first, Aina's sudden feminine qualities for herself, although that is the starting point of the whole film to make a complete reversal of the character's personality, but it is slightly deliberate and abrupt. As two people who are also painters, playing together and paying attention to each other's paintings has become the norm, and Gerda's whim directly triggered the beginning of Aina's understanding of the femininity in his heart, and the artist's ball has become a journey for the two to face each other again and be honest and true to themselves. Aina appeared in public for the first time as a female Lily at the instigation of Gerda, and thus met Shadar, gender confusion began to disturb Aina's psychology and physiology, he could no longer face Gerda with the status of a man and the identity of a husband, and Gerda painted a female Lily, and had to face this sudden change. The film eschews the homosexual dimension and instead addresses the outcome of transgenderism from the perspective of Aina's female psychology. The focus is also on Aina's painful entanglement between the characteristics of men and women, and Gerda's female Aina is also very successful, making Gerda a good and successful painter. This complex emotion is no longer just love between the two sexes, but gradually extends to mutual sacrifice and mutual tolerance born of love, until finally Gerda says "Letitfly" in front of the silk scarf that goes with the wind. The film we are facing has no ups and downs, no ups and downs, and the whole film is staged in your heart again and again in the music and the performance of the two actors like a stage play, and the sound of tears pouring out again and again. There is no greatness, just a man who is faced with an unsolvable puzzle, whether this is a beautiful mistake of God or a beautiful misunderstanding, and Aina and Gerda have been trying to find the answer. In the film, Aina watches the charming posture of a prostitute through the glass in Paris, examines her body in front of the mirror to become a woman, and for the first time greets the childhood playmate Hans who once touched his heart as a woman. Aina's confusion, panic, helplessness, sadness, and tears are all displayed one by one through the picture screen, and your tears are accumulated in your eyes, slowly waiting, waiting for this beautiful mistake to finally be truly redeemed. If this is a beautiful mistake, then why can't it be said that it is God's fault, yes, God has never been wrong, wrong is spiritual, wrong is that we think we can distinguish between good and evil. Although it is still impossible to really tell whether this error is real, because the real Aina is a bisexual. However, from the perspective of the film alone, the intimate emotion between people brought about by this beautiful mistake is real, and when Gerda sits alone in a chair in the rain, you can feel how deep a person's loneliness can be, and when Gerda bids farewell to Aina, you can also understand how grand love is and can cover up all mistakes.
This is a moving film, and the confusion of identity shown in the film is enough to make any normal person feel empathy. But I can't really experience it. Because the pain of inner struggle and surgery does not really happen to us, empathy can only be understood. Understanding Eirna's persistence and bravery in the film, understanding Gerda's support, the power of "Danish Girl" is like the landscape painting made by Einar, standing still under the waves. It's a powerful movie. Einar repeatedly painted landscapes in the same place until he confirmed his heart and stopped painting. Because the process of painting is the process of his search for himself. In the reflection of the lake, even if the trees look exactly the same, the essence has changed. Gerda inadvertently helped Einar make the transition. No, this is not a shift. Instead, wake up. Einar said Lily was always present in his body and it was Gerda who woke her up. Maybe without Gerda, someone else would have woken up the Danish girl. Einar is an avant-garde brave man, and so is Gerda.
She had to face her husband's distant past and re-greet a lovely woman, Lily, whose understanding was Einar's greatest fortune, and who chose to listen when others chose to turn a deaf ear. Little Freckles' acting skills perfectly reproduce the transgender painter's mental journey, under his calm appearance, people can peek through his eyes to his secrets, his dexterous blinking, his shy smile, when Enna put on women's clothes, his beauty makes people feel that nature and him have made a joke, she should have been a woman. At this time, the director's purpose is also achieved. When you look at the woman in front of you and recognize her beauty, it is difficult to accept the fact that he is actually a man, just like Einar carefully admires his body after taking off his clothes in front of the mirror. At this moment, he agreed with the fact that he was a woman in his heart, and refused Gerda's request to let him find her husband. It is conceivable that even in Western countries, the transgender changes in the 20s and 30s were a matter that could not be recognized by the public, and if the film joined the pressure of public opinion at that time, it might make the film rise from a pattern of focusing on the individual to a seemingly grander narrative of social issues.