The film’s take on female sexuality and agency feels so fresh; Emma, what do you hope that people take away from your portrayal of Bella?

Stone: …… Yorgos is European, so he has a little bit more freedom around these things, but I’m from Arizona…… Watching Bella mark that journey of going from such a self-focused kind of pleasure-seeking—whether it was, you know, eating way too many tarts in Lisbon or wanting to experience pleasure in all these different capacities that she learns about while being possessed by men—to wanting to become a doctor and help people in a different way, these lessons that we go through in our lives over a long period of time are happening very quickly for her, and it was such a great opportunity to live an entire life that wasn’t marked at all by shame or trauma.

Even though Bella has obviously been through trauma in her life, it just isn’t there for her now. She was the most joyous character in the world to play, because she has no shame about anything. She’s new, you know? I’ve never had to build a character before that didn’t have things that had happened to them or had been put on them by society throughout their lives. It was an extremely freeing experience to be her.

“experience pleasure in all these different capacities that she learns about while being possessed by men”所以片中的男角色的作用不是进阶版苹果，你们没有shame的快乐中还存在possess和被possessed的关系？真是一种很精神胜利法的古典快乐呢

“Even though Bella has obviously been through trauma in her life…… because she has no shame about anything.”没有创伤的原因是不对任何事羞耻，意思是有创伤的人只是因为自己不放过自己的羞耻心，如果我们不把996当成一种痛苦那就可以快乐的加班不受任何创伤？

This being Vogue, I have to ask about Bella’s style transition from the loose, puffy silhouettes of her childlike era to the almost corseted gown she wears at the film’s climax. What was that sartorial conversation like?

导演就开始答非所问了，“我们用一些70年代的材料给19世纪的服装增加未来感”

连隔着半个地球的韩国女人都在用“脱束身衣”作为象征，你看到这个问题一点也没想到服饰文化中体现的性别问题，创作时也没从这个“社会学热门角度”思考过，哪怕你说了解过这方面观点但自己觉得不重要也行呢，就只关心和自己下半身有关的那点事

Yorgos, you acted in the Greek film “Attenberg” earlier in your career, which required you to take part in some sex scenes. Did that give you a unique perspective on directing them?

LANTHIMOS For me, that aspect was never an issue. Sex in movies, or nudity — I just never understood the prudishness around it. It always drives me mad how liberal people are about violence and how they allow minors to experience it in any way, and then we’re so prudish about sexuality. To me, what was difficult about being an actor was that there was a lot of waiting around, and that’s why, when I make films, I try to have the least amount of business possible: No lights, no gear, no nothing. Nobody goes anywhere, nobody leaves. There’s no time to smoke a cigarette, because we just keep on going.

“It always drives me mad how liberal people are about violence and how they allow minors to experience it in any way, and then we’re so prudish about sexuality. ”

原来电影导演这种高脑力职业的人也会有拿两批不同人做的事来证明庸众自相矛盾而我独特清醒，既然你们成影片中冒险为快乐旅程，那就祝你亲身体验被强暴，虽然你不是未成年了，但至少可以测试“没有羞耻心”是不是能让人免除一切创伤的灵丹妙药

观影过程中其实是从性教育素材的角度看一些情节的

“GOD一个生物学家面对贝拉出走痛心疾首，但就是不告诉她你可能搞混了对纯粹生理性欲的兴趣和对那个男人的兴趣”——如果因为性羞耻而避讳对青少年的科普，可能反而给性蒙上过于神秘的面纱，使她们对性有只有好奇和旖旎的想象

“现实中很多男人就像duncan那样，骗女人满足自己的私欲时说我们要摆脱礼教束缚那都是狗屎，如果女人想换个人玩不当他的所有物了他就想把你整死”

“能去妓院的男人就不可能有尊重女性的想法，毫无劳动人权保障的性工作者想要平等的交易，他们要不然嘴上敷衍要不然直接上鞭子”

但事实证明这只是基于观者知识先入为主的感受，评论区很多赞誉也大抵如此

我以为说的是很多人乘着性解放的潮流行压迫之实，这些都是历史弯路你们不用再试了，实际导演想表达的是虽然有痛苦但总体还是很好玩的大家都来玩啊

从同情心和痛苦再没回到女主心中及结尾“社会主义者”坐在奢华别墅庭院里高举香槟的情节安排也能看出，导演早就利用批判左翼的天真和虚伪为自己站在结构高塔上安然享乐脱罪了

两星给美术道具创作者和艾玛石的表演