神奇的電影。絕無僅有。 夢(mèng)與現(xiàn)實(shí)相互獨(dú)立，相互對(duì)抗，相互支配。 又相互滲入，相互作用，相互影響。 讓故事的可能性成為了數(shù)學(xué)的排列組合。 可怕之處在于每種組合都可以順理成章。 夢(mèng)與現(xiàn)實(shí)，從不同角度，互換不同角色。 如何理解就可以如何識(shí)別。 創(chuàng)造力震撼。 整體結(jié)構(gòu)妙不可言。 “睜開你的雙眼”，就一定看到現(xiàn)實(shí)嗎，也可能還是夢(mèng)一場(chǎng)。 “你覺得幸福是什么”，是重生的希望嗎？導(dǎo)演的答案是：珍惜現(xiàn)在?！獌?nèi)核。 夢(mèng)題材之先鋒和高峰。 瞠目驚嘆??！

“In the dream of the man that dreamed, the dreamed one awoke.”

—The Circular Ruins by Jorge Luis Borges

When I was watching Open Your Eyes, Borges’s short story The Circular Ruins also came up to my train of thoughts. Both stories narrate a similar theme, which is the protagonists’ waking from a dream that belongs to another dream. The absurdity of life is vividly revealed through these stories, pulling the audience into panic and skepticism, unable to discern what is real and its projection. Time seems to become an element of nihilism, as the path to wake up from the dream is like a matryoshka doll but infinite. It’s often difficult to have the self-consciousness of being in a dream when we are dreaming, the definition of reality is also obscured. The conflicts we face while choosing between dream or reality belongs to one of the most fundamental philosophical questions.

When the protagonist Cesar is disfigured in the accident, he loses the appearance that he’s proud of. For Cesar, the disfigurement for him is also the impairment of his love relationship, self-confidence, and his life. Facing the cruelty of truth, Cesar traps himself in the endless loop of dreams. The constant switching between hideousness and beauty also blinds the truth from us. To disguise his fragmented face, Cesar eventually accepts to hide behind the mask despite the initial rejection. At this moment, Cesar’s identity is also fragmented into disorder. There’s a backlighting scene in the movie when Cesar wears his mask on his back head, forming a silhouette of two side faces. This can also be interpreted as symbolism for Cesar’s divided identities and his disoriented perception of his existence in time. The protagonist has been asked several times in the movie about what is happiness, but he fails to answer. Whether it’s a nice dream or a nightmare, all depends on Cesar’s choices. When Cesar chooses his looks to be the protagonist of his dreams, he also chooses the most precarious shallowness which appears as frequent nightmares. In Descartes’ Meditations on First Philosophy, he also expresses this entangled confusion between illusion and truth: “I suppose therefore that all things I see are illusions; I believe that nothing has ever existed of everything my lying memory tells me.” Despite we believe that our sensory perceptions are real enough to be considered as realities, we shouldn’t forget that we were also deceived by the same thoughts in dreams.

However, when Cesar realizes that he lives in a constructed dream, he still faces the dilemma of choosing to live in the lucid dream or reality. The final moment when he chose to jump off the building also reminds me of the Matrix. While the Matrix delivers a sense of self-transcendence, Abre Los Ojos emphasizes the courage to face the truth. Can Cesar truly enter the reality after he opens his eyes or would he still be trapped in the endless loop of dreaming?

人活在這個(gè)世界，我覺得是一件很不可思議的事情，但是不知道為什么，似乎大家都習(xí)以為常，這就是為什么我遇到一點(diǎn)不能理解的事時(shí)，總是大驚小怪，咋咋呼呼，感覺你們都不是人，為什么你們能這么淡定？怎么做到的？我不能理解，所以，在“正常人”眼里，我反而是個(gè)“神經(jīng)病”，是敏感型人格，我自己不這么認(rèn)為，我覺得“大驚小怪”“正?！笔悄銈兊亩x，這些現(xiàn)象本身在我眼里就特別奇怪，比如我從小就一直想不通的事情，那時(shí)候只有幾歲，我看著燈泡，為什么它能發(fā)光呢？而且看久了它就模糊了，我在想我會(huì)不會(huì)是神?。恳?yàn)槲掖_定我看到的燈泡和別人不一樣，我看見過別人看燈泡，那是連人帶燈泡一起的，不像我自己看燈泡，只有一個(gè)亮亮的地方，然后逐漸模糊，出現(xiàn)了好多個(gè)燈泡，后來我才知道不是我神，是因?yàn)榭淳昧瞬徽Ｑ?，眼睛太干了流的淚。

我永遠(yuǎn)無法用我看任何一個(gè)人的視角去看自己，我只能靠想象我在看別人的時(shí)候那個(gè)人假如是自己的樣子，即使是照鏡子看到自己也只是一種反射，而不是我真真切切的看到的任何人，我對(duì)這個(gè)世界的認(rèn)知，是我的眼鼻耳口手的反應(yīng)，“我”是縮在身體里的某種生物，就像電影《一一》里面說的，人們永遠(yuǎn)看不到自己的后腦勺！“他們”到底是誰(shuí)？

以上只是看電影時(shí)的一些疑惑，至于這部電影，恰巧提供了一個(gè)機(jī)會(huì)，單純電影的角度來說，就是為了起承轉(zhuǎn)合的戲劇性，搞出這么多反轉(zhuǎn)，腦洞，直到最后男主縱身一躍，我才清醒過來，我覺得這電影不一般，在我看來，死亡不是從噩夢(mèng)中驚醒，而是真正噩夢(mèng)的開始，想到這里，突然感嘆生命千辛萬(wàn)苦來到這個(gè)世界，是不是真的就是來渡劫的？沒成想，好不容易人死了，結(jié)果還是得醒過來了做人，就不能痛痛快快的死嗎？終極死亡那種，何必這樣反反復(fù)復(fù)的從一個(gè)墳?zāi)固肓硪粋€(gè)墳?zāi)鼓?？肉體的存在對(duì)男主角來說是更好的結(jié)局嗎？我表示懷疑，可能沒有標(biāo)準(zhǔn)答案，每個(gè)人都有自己的理解，答案一定千差萬(wàn)別，當(dāng)然，這正是花花世界的可愛之處，各種思想的碰撞，多有意思??！想好好生活的人好好生活，覺得人生是一種詛咒的就重新選擇，等等等等，誰(shuí)也不用勸，他就這樣，就是這樣，就是這樣而已！