“The choice when two lovers must change their current situation”, this was the definition of marriage that Edward Yang made in his film “Taipei Story”, and we can also find it in his private family life. However, when Slavoj Žižek was trying to construe Stanley Kubrick’s “Eyes Wide Shut”, his opinion show that the two genders are always chasing the so called “self” that he/she imagines which himself/herself should to be in the other (gender)’s mind. But due to the existing differences of each (gender)’s ideology, the irreconcilable comes into being greatly, so the unbridgeable gap takes shape at final.
Ingmar Bergman take it one step further. In his film “Scenes from a Marriage”, he regarded this kind of almost fatal deviation as the key reason of the marriage failure. And he held the thought that love can not be reserved by the form of marriage toughly. After the release of this film, the rate of divorce in Sweden and Denmark increased substantially. However, the director felt very glad when learning the news. He thought that those who didn’t know whether to leave his/her current partner or not, finally made their mind to make a decision. Because of the possible happening of this circumstance, people were becoming more sincere to each others, and of course to themselves.
*The film criticism was written by Simplified Chinese at first (which is my mother tongue), then I translated into English for your reading convenience. And down there is the original version.
“当双方需要改变目前的处境时的选择”，杨德昌在《青梅竹马》中给婚姻下的定义，从他自身的家庭生活中也能体现；而齐泽克在讲解库布里克的《大开眼界》时，他认为两性始终在幻想并追逐对方眼中的自己，但由于存在着各自思维模式的差异性，终致不可调合的南辕北辙，正因如此反而造就了无法跨越的鸿沟。
伯格曼在此基础上更近了一步，他在《婚姻生活》中将这种近乎必然性的背离关系视作婚姻失败的本质，他认为爱并不能硬性地以婚姻的形式长久保存。在他这部作品放映后，瑞典丹麦的离婚率大幅度上升；导演在获知后很高兴，他认为那些迟迟不知是否该离开对方的人终于有勇气下定决心，人们因而彼此更坦诚了。
A×R×T 