Part of the ending.

No matter what the connotation of a series of plots at the end of the film is, different people have different opinions.

But most viewers tend to have two endings: escape and not escape.

Let me also talk about my understanding of the endings of the two propositions.

(The first is an all-inclusive escape publication:

The scene that Sarah has successfully escaped from the car seems to imply that the scene that the audience saw sitting with Juno may actually be to express the shame and fear brought by herself and her crime, and how deeply it penetrated into her mind. Or another extension of the plot near the end of the film: even if you escape from that cave, all the remaining fears will go with you.

This idea can be applied to the scene in the car, and even to the story that Sarah was still in the thrilling cave at the end.

First, Sarah, who escaped, drove to the city to get rid of the loneliness in the cave. Her loneliness is extremely contradictory.

Killing each other in caves to save their own survival, facing the thin alien biological groups alone. She is not only afraid of the same kind who may deprive her of her living place and opportunity, but also needs the same kind who can bring a sense of security, so as to arouse suspicion in the cave and all the tragedies that have happened (including the subtle emotional relationship with her companions, of course).

However, when she finally escaped from the nightmare, her kind, human beings, was no longer a competitor who threatened her life in the cave. At this time, there is no conflict between desire and goal. The significance of Sarah's rapid driving in the car at this time is not to seek unity and security, but to find evidence that she will completely get rid of that damn cave by any means.

Then there was a shocking presence in the car, which seemed to crush Sarah's desire.

This seems to be another response to her desire.

What does this existence mean?

Maybe it's the destruction of her approaching ideal scene.

Or maybe her persecuted human companion repaid her heartless betrayal with something she longed for,

But this doesn't seem to be what Sarah wants. ...

The plot of returning to the cave afterwards is the root cause of people's differences.

Then the theme of "fear after fleeing" continues the Arabian Nights.

After a series of comfortable, gentle and frightening shots of sunshine avenue, the camera returned to the claustrophobic cave.

Sarah at this time is another Sarah in a parallel sense.

On the one hand, she escaped from the abyss and ran to a safe utopia. At the same time, she woke up from a coma and was forgotten, staying in that claustrophobic cave. She seems to have different feelings from when she fled, without the sadness and domineering fear of death, but she seems to be afraid of something ... unknown.

This seems to be a sad abandoned past. It seems different from Sarah killing her partner to survive. She can recall warm and beautiful scenes.

This is also a timid and indifferent past, which is different from the past when you can fight monsters alone and have a strong desire to survive. Without her previous desires, her quiet eyes seemed to express infinite melancholy and sadness.

Like its disharmony, disharmony really seems to be an existence that should not appear. ...

-Sadly, it does exist.

Sarah, forgotten in the cave, may be filled and surrounded by this sadness forever in the dark, or she may escape from heaven.

And Sarah outside that hole may have been wiped out by the fear of cars mentioned just now, or maybe that fear is just an illusion, and finally she got her wish and ran to the light ...)

There is also an intuitive idealistic version that has not escaped:

I also want to talk about the above plot, but I want to talk about the key place that is inextricably linked with whether the heroine escapes-"the pile of white bones leading to light."

The reason why the previous version did not take this scene as one of the themes is that personal understanding is more inclined to prove that the heroine did not escape.

This is the beginning of light and the end of darkness.

The heroine walks on the steps of the mountain of bones to the light, and she can't wait.

So that the later climbing action looks so funny and twisted.

Below the light is darkness.

Dark caves, dark hearts, dark buried at the bottom of invisible bone piles.

However, when Sarah out of the dark died, did her heart escape?

This long-awaited light has arrived, and she has embarked on the road of survival that she built herself ... Oh no, it was built with other people's bones. Imagine, if a few bones are missing, it doesn't seem enough ... if a few layers or only a few bones are missing, can she get close to the hole?

There are trees outside the cave, and the spacious avenue is completely different from the previous narrowness. Sarah's running seems to question whether the scene in front of her is true or not. Yes, she hasn't begun to believe that she has escaped.

That even when I got on the bus, I kept running around.

The compactness and urgency of the scene make people want to escape, which is why Sarah is afraid to escape. Spacious avenues don't make people relax. On the contrary, the more Sarah tried to break free, the more she showed panic. It seems that the fear has not disappeared, but the fear caused by strong psychological suggestion finally came to her as Juno, playing with the idea that she thought she was close to victory.

At this time, everything returned to the abyss of terror, but it was not just a dark and cold cave, but a thorough and eternal stay in the abyss.

Nothing is more desperate than finding that the despair of escape is actually just a dream and the disillusionment of the dream.

Sarah's pursuit of light is like a torch in the dark. Although it can light up the light and dispel the external cold, people who have been eroded by darkness may never find the lost warmth of kindness and unity, nor can they dispel the inner cold and darkness.

Finally, I went back to the skeleton ladder in my previous impression. In fact, all the arrangements and structures here always seem to imply that the external light is so remote and inaccessible that Sarah will eventually return to darkness.

This is a scene of polar contrast, which seems to reflect the different characteristics of the world-darkness and light seem to be on the same line, but they cannot blend.

The light in front of Sarah's eyes is so soft, safe and pleasant, but when she climbs up from the darkness, she wants to go through the bone and into the light step by step.

It seems that someone is saying, "It's impossible to go out. Only those whose hearts are full of light and purity can get the blessing of light. The road paved bit by bit, with endless darkness and evil bones hidden behind it, will only lead you to darkness darker than the abyss, which is suffocating. "

Light is condescending, and people who climb out of the dark abyss below think that they can throw themselves into the light that seems close at hand. However, she is already in the darkness, and she will always be merged by the darkness. After all, birds of a feather flock together. "

Finally, briefly explain the intention of leaving details of the bone pile in the proposition that has not escaped.

Here, I personally analyze the three factors that the white bone pile wants to express.

First of all, the feeling of first impression is also well known.

The mountain of bones seems to imply that it has become a sacrificial companion for Sarah's life.

The second factor is also based on the cruel fact that success will be destroyed, but at this time it is reminiscent of whether countless people use and sacrifice their companions to the light in front of Sarah. Cruel reality may be a microcosm of the darkness of human nature used to reveal the real world.

Then there is the most practical idea.

Everything expressed in the white bone ladder scene is so uncoordinated and unreal. The director used such an extremely dark expression to stimulate and guide the audience to reflect on human nature and analyze themselves.

At the same time, using an exaggerated pile of bones to imply that everything is just Sarah's dream of survival.

Extrapolation: (Imagine where that pile of bones came from. There are really so many people who have been to this terrible cave and finally died at the dream exit. Even if so many people are trapped in the cave, they may not be able to reach the exit area alive and die comically.

Besides, is there only one exit? Or is there really an exit?

Remember that it was because of the cave collapse that the protagonist and his party could not find a new exit? Then can't that entrance also be used as an exit? Why are there no bodies there? The person who saw the monster should have gone out from the original entrance of the protagonists, and the proportion of bodies found by Sarah at the exit of the skeleton ladder is completely unreasonable compared with the bodies in the cave, or there is no body at all?

Are the monsters in the cave all sunbathing maniacs, taking the bodies of people who died inside to the sun for fermentation to show their self-appreciation or show them to others? ..

Or did some crazy pervert ignore the cave monster and collect the bones of all the victims and pile them up to escape from heaven? Life is really wonderful. )

It seems that the meaning of the ending of this film has always been a controversial topic. However, people are different, everyone has everyone's understanding and beliefs, and things in the world vary from person to person, so it is natural for people to have different views.

The above remarks are for reference only and for the public to enjoy. Please forgive me if the content is different from the actual situation, and occasionally there are differences.

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