It seems at the beginning of the film, May's eyepatch covers her left eye, yet later on, with the eyepatch off, it's her right eye that's lazy... Although before the eyepatch it was shown that she stabbed her left eye...
This film has great attention to detail. May, unsatisfied with the entirety of people, seeks to take separate parts and amalgamate them into one perfect being. For example, a coworker of May's (May works at an animal hospital) has a beautiful neck, or so May believes. However, her hand has a displeasing mark, according to May. Regarding the mark, the coworker says that her grandmother believed it is the imperfections that equate to true beauty, or something like that. May doesn't agree. So here is May's creation:
1. The neck of her coworker 2. The ears & earrings of her ex-paramour's girlfriend 3. The hands of her ex-paramour 4. The tattoo of Juju Beans Guy (and presumably his arms) 5. The legs of her coworker's paramour
But May was unsatisfied with this creation. Why? Because although May could admire its beauty, it couldn't see May. So, logically, May gauges out her left eye (or was it the right eye?) and plops it onto the left side of her creation's head, but not before first trying glasses.
Here's where the film gains points for attention to detail. First, upon entering her paramour's abode, a poster of Dario Argento's film Opera (1987) is clearly visible. In that film, a serial killer places blades below an opera singer's eyes every time he commits a murder, so that she has to see everything in all its glory. Hence May's frustration when her creation can't see her.
Furthermore, Juju Beans Guy's tattoo was of Frankenstein's Monster. Interestingly, May (2002) ends with the right arm of May's creation reaching out toward her, akin, and perhaps alluding to Frankenstein's monster coming to life. The right arm that reaches out to caress May is the same arm on which the Frankenstein's Monster tattoo resided on Juju Beans Guy.
Like Pygmalion, May sought to create a lover perfect in her eyes. Hence her rearranging of the letters MAY to AMY at the end of the film, indicating the doll's newfound sentience in this new carnation.
Like Dahmer (interestingly, the film Dahmer came out the same year as this film), May has an intense desire for closeness, as is witnessed firsthand by Juju Beans Guy, upon seeing a cat in her freezer. When he sees this, May proposes they be best friends, a role previously upheld by her doll, Amy. This proposal hints at her gauging her eye out in that her best friend needs to see everything she sees. Hence her scolding Amy for not looking away when her paramour was over: She was perhaps hopeful that her paramour could fill this role.
It's details like these that make films great.
This film has great attention to detail. May, unsatisfied with the entirety of people, seeks to take separate parts and amalgamate them into one perfect being. For example, a coworker of May's (May works at an animal hospital) has a beautiful neck, or so May believes. However, her hand has a displeasing mark, according to May. Regarding the mark, the coworker says that her grandmother believed it is the imperfections that equate to true beauty, or something like that. May doesn't agree. So here is May's creation:
1. The neck of her coworker 2. The ears & earrings of her ex-paramour's girlfriend 3. The hands of her ex-paramour 4. The tattoo of Juju Beans Guy (and presumably his arms) 5. The legs of her coworker's paramour
But May was unsatisfied with this creation. Why? Because although May could admire its beauty, it couldn't see May. So, logically, May gauges out her left eye (or was it the right eye?) and plops it onto the left side of her creation's head, but not before first trying glasses.
Here's where the film gains points for attention to detail. First, upon entering her paramour's abode, a poster of Dario Argento's film Opera (1987) is clearly visible. In that film, a serial killer places blades below an opera singer's eyes every time he commits a murder, so that she has to see everything in all its glory. Hence May's frustration when her creation can't see her.
Furthermore, Juju Beans Guy's tattoo was of Frankenstein's Monster. Interestingly, May (2002) ends with the right arm of May's creation reaching out toward her, akin, and perhaps alluding to Frankenstein's monster coming to life. The right arm that reaches out to caress May is the same arm on which the Frankenstein's Monster tattoo resided on Juju Beans Guy.
Like Pygmalion, May sought to create a lover perfect in her eyes. Hence her rearranging of the letters MAY to AMY at the end of the film, indicating the doll's newfound sentience in this new carnation.
Like Dahmer (interestingly, the film Dahmer came out the same year as this film), May has an intense desire for closeness, as is witnessed firsthand by Juju Beans Guy, upon seeing a cat in her freezer. When he sees this, May proposes they be best friends, a role previously upheld by her doll, Amy. This proposal hints at her gauging her eye out in that her best friend needs to see everything she sees. Hence her scolding Amy for not looking away when her paramour was over: She was perhaps hopeful that her paramour could fill this role.
It's details like these that make films great.