Seemingly another typical male gaze centric, somewhat problematic (in today's standard) pink film took a sudden left turn。所以毕竟是2002年拍的,精灵宝可梦可以看成是对pink film有commentary的反转?虽然这里empowerment的工具仍然是女性身体本身。后半段放飞后的确比前面的pink有意思,包括lovecraftian imagery,还有overtly invoking "film as voyeurism" by showing some surreal lynchian club scene。导演自己出演手持相机的stalker也许可算是又一层面上的meta commentary,本质上是他的干预完全改变了这对夫妇的生活——电影的力量?(看到一种解读说stalker的角色也许并不存在?)