Lost Forbidden Fruit

The three stages in Lick's life all begin with sex: curiosity about sex at five, the first taste of forbidden fruit at sixteen, and adult self-alienation leading to unfillable mistakes. Growing up in Kenya, every crossroads in his life seemed to be manipulated by sex. The film's poetic music, cinematography, and the story of Adam and Eve in the Garden of Eden contrast with different times and spaces, becoming the director's experimental work. The film contains four groups of characters with four sets of stories—if they can be called stories: a naked Black man and a white woman reenacting the tale of Adam and Eve in the wild jungle; two boys and girls under twenty trying out love at an awkward moment; Nick, who escapes the noise with his wife and children to the countryside for a vacation, intermittently haunted by childhood experiences (especially those of panic); and Nick, transformed into a television producer on a business trip to North Africa, where we see a male crew member under his supervision accidentally run over a local child, leading to his girlfriend being killed by the locals. Previously, the film hinted that his girlfriend has a long-lost twin sister. These events are confusing, and I can't even reorganize the story clearly. Not only do the individual stories seem unrelated to one another, but there is no symmetry or connections between them; even within a single story, there is a lack of cause and effect, leaving the audience unaware of why the characters behave as they do, and no clue about their next steps. The only thread that might tie them together is that 'Lost Forbidden Fruit' is reinterpreting the concept of original sin and colonial experience: the transgressions of modern young men and women should correspond to the legend of Adam and Eve 'living in' the chaos of creation, and the couple's vacation in the countryside is still eroded by the 'dream of sin' brought by civilized society; particularly with the guilt associated with colonialism—it's not just allowing Black individuals to play the role of Adam, but that a pair of twins from a colonial background are scattered after being sent to white society. The local boy is accidentally killed, and a white woman pays the price with her life, all pointing to the underlying author's feelings of guilt and remorse. If this is what the author intends to express, then the question arises: is the manner of expression here appropriate? The discourse here is overly polished, like an educated and arrogant nobleman, who, even when self-critically acknowledging errors, still embellishes the criticism, inevitably leaving the broader public perplexed. There is a desire to say something, with an air of importance, but in the end, what is actually conveyed is difficult for people to grasp; this is also one of the symptoms of contemporary cultural aphasia.