Yesterday I watched The Descent, a British horror film about a group of female explorers who become trapped during an exploration in underground caves, one year after Sarah, a member and the protagonist, lost her husband and daughter in a motor accident. Adding to their plight is a race of blood-thirsty, cannibalistic savages, whom they must fight to survive.
Eventually it becomes apparent that the whole expedition is a metaphor of Sarah’s efforts to come to terms with the loss of her loved ones, and the affair between her husband and Juno, another member of the group. The “descent” here is arguably a psychological journey into the darkness of her inner self, to find a way out of the spite, grief and other emotions that have gripped her since that tragic day one year ago. The film ends without telling us her fate. However, by leaving a maimed Juno to the savages and having an imagined reunion with her daughter, she has at last freed herself and found peace, regardless of whether she survives.
Likewise, it can be said the savages are actually Sarah’s own inner demons. By killing the savages, she is able to redeem herself. One commentor on Imdb has a rather bizarre theory that the savages are actually Sarah’s hallucinations and that she has killed the whole group, though that may be an over-analysis.
The film is atmospheric and intense, with many brilliant scares (the night-vision scene is particularly effective). But I feel most strongly about the part in which they crawl through tunnels so tight that only one person can (barely) squeeze through each time. The claustrophobic atmosphere is suffocating, but it does visualize the helplessness and despair when one is trapped by preoccupations and obsessions.
The film seems to suggest the human mind is a dark, mysterious labyrinth with dangers lurking. If I dig deeper into my own, what monsters await?
A garden near the West Lake, Hangzhou, China. Converted into Sepia with brightness and contrast adjustments to simulate the feel of an old photograph.
If a picture freezes time, does such editing transport people back in time?
If I ever have a dog, I’ll call it Ralph/Ruth, so that it can tell people its name:
Hey doggie, what’s your name?
Raalph! / Ruuth!
筆者落伍，從不留意時裝，到最近才知道連鎖店French Connection原來就是以前的FCUK（French Connection United Kingdom，後來因備受評擊，棄用這簡稱）。從前見這疑似粗口店名，總當是不倫不類的前衛怪店，避而不入，實在太過武斷。
Man Ho？豈不是發音跟「manhole」一模一樣？Manhole是地下水渠的出入口，香港稱為「沙井」，或者更俗的，叫「x渠」，而Manhole cover就是「x渠蓋」。
是不是我職業病發作，太過敏感，其他人simply don’t care？不過，既然連西貢Fook Man Road（福民路）路牌也引來遊客爭相拍照，傳為笑料，那Man Ho讓人有此聯想，也不是甚麼出奇的事呀。
Back in Feb I signed up to be a volunteer for the upcoming East Asian Games. Yesterday I got an email telling me that I’ve been assigned to the “Reception & Liaison” division.
The email says nothing my exact position and duties, and I’m still waiting. Considering my qualification, however, I’ll most likely be selected as a translator/interpreter.
If that’s the case, I can imagine while others toil under the scorching sun or have a nerve-breakdown handling impatient crowds, I’ll be sitting in front of a computer and sipping coffee, all in the relative comfort and serenity of an air-conditioned office.
In other words, no change from what I do everyday.
I don’t want that. I volunteered to try different things and meet new people. It’ll be dreadful if I end up translating documents all by myself.
On the other hand, to be an interpreter is a challenge I much look forward to.
I’ve reserved my remaining annual leave days for EAG (which means putting aside all travel plans), and I want this to be worthwhile.
I figured out how to change the background texture last night and decided to give my blog a new look (What? Again?).
And you’re looking at the result.
The design is to mimic a black-framed picture hanging on an exposed brick wall, like the ones in this photo:
I like this combination because it creates a nice homely feel.