這位太太我以為會有很多戲份，結果只是出來一幕。真的好像貓。  

這台詞讓我想到Orphan Black的Helena
 

我喜歡女主家裡有貓科動物的暗示
 

裡面出現的小貓炸毛好可愛XDDDDDDDDD
 

you can't fool a cat，一個關鍵提示  

我喜歡女主要轉化前的這個特寫，就是放棄抵抗內心自我的表情(也是接受自身宿命、詛咒的表情)  

其他幾個我滿喜歡的鏡頭
 

文章裡面提到主角Irena因為無法融入符合社會定義的好妻子角色（無法與丈夫有親密關係）從而造成自己的死亡。Irena一直恐懼自己的本質，害怕孤獨害怕無法適應社會。 

餐廳這段和太太的戲我有get到，果然是有玄機  

On the surface, these exchanges appear innocuous but to a queer audience in the 1940s, a female being labeled “odd” would function in much the same way as a gay man being called a “sissy.” 

“Look at that woman. Isn’t she something?” 欸幹，這句幾乎等同於現在網路迷因會用的 "Is she.....You know....."
 

The coding evident in each film suggests the innate desires of each woman are something to be feared and something by which to be repulsed. Barbara Creed extends Carroll’s argument about the monster in Horror and the Monstrous Feminine: An Imaginary Abjection by arguing that, at its core, the monster is always imbued with the feminine. 

女性慾望是被恐懼的需要被擊退的；怪物總是充滿陰性氣質 

The assumption that Irena possesses lesbian feelings is especially threatening because, to the audience, it implies a castration of the masculine identity. She is not a woman who desires men, which suggests that she is not a woman who needs a man. 

She is an “other.” Yet, for societal boundaries to maintain intact, and for women to accept these boundaries, neither the desires nor the needs of these “others” can be allowed to persist. 

我懂了，因為主角不慾望男性不需要男性，所以被視為一個威脅到主流社會異性戀婚家價值的存在，將主角暗指為lesbian更是對the masculine identity（這要怎麼理解？陽剛文化？男性認同？）的閹割 

難怪裡頭多次出現寶劍、鑰匙的畫面，最後醫師從拐杖裡拔出來的劍還斷裂。他被化為豹的女主角給咬死了。 

看了1982年版的片段也很有意思，女性的性覺醒變成需要靠男性的野性；一個可以是lesbian符碼的角色，被轉化成男性可慾望的性感，待男性叫醒的清純女性角色。
Taming a Wild Beast | Cat People 

又，雖然講的有點東拉西扯但上面這個片段，讓我想到了Killing Eve。我突然覺得一切都說的通了。 

四零年代女同志互相辨識的暗號"moja sestra"
Cat People - my sister