Canadian underground queer filmmaker Bruce LaBruce is a maverick with a notorious reputation as his blatant transgressions are preponderantly predicated on his porno-akin provocations often aspersed to mask as audacity. In this regard, GERONTOPHILIA might be an exception. Tackling the sexual taboo of a young boy's unaccountable lust towards senile men, the film is considerably less graphic than his other films since LaBruce is obviously not the one who is capable of aestheticizing the saggy skin, liver spots and deep furrows.
Lake (an angelically anaemic Lajoie) is an 18-year-old Canadian college student, habitually necking with his girlfriend Désirée (Boland), who is a self-claimed revolutionary prone to bragging about her “list” of candidates with whom she would like go sapphic, which is nothing but a load of mildly maddening hot air. Lake finds a cushy job in a retirement home and instantly takes to Mr. Peabody (an incurious and unflappable Borden), a white-haired, black gay grandpa who has a mischievously gentlemanlike persona, if not heavily sedated under the medication.
Lake's awakening to his kinks and his subsequent reconciliation with Désirée are handled with a frivolous touch that is devoid of any weight or emotional stake. The film changes its lane while Lake sneaks Mr. Peabody out of the home and drives him to see the Pacific ocean one more time. There is an awkward moment of jealousy when Mr. Peabody is approached by another youngster in a bar, just to prompt Lake to momentarily shed off his peaceable blandness and the morning after, admit his true feelings for Mr. Peabody. The dry irony is that the latter might not be alive to hear that.
Basking in a gelid and frigid hue and clinical surroundings, hogtied by a merely serviceable cast, GERONTOPHILIA seems inert, stilted and uninvolved in its own thematics, the only grace note is its nonchalant attitude covering a multitude of inconsequences under the banner of its nominal perversity.
Finnish-British filmmaker Mikko Mäkelä’s sophomore feature SEBASTIAN also delves into a young man’s erotic experiences with older males. Max (Mollica), a 25-year-old up-and-coming Scottish writer in London, furtively moonlights as an escort, choosing the name Sebastian, on the pretext of garnering inspos for his debut novel about sex workers in the megalopolis.
The peculiar whiff of coming to terms with one’s own kinks transfuses throughout the entire film. Max prefers a covert date with his clients to hang out and make out with his hormone-driven coevals. He is willing to explore his sexuality with different types of guys, whether a soft-spoken blimp (Nellist), a Nordic gruff daddy (Sigurdsson), or a demisexual literature professor (Hyde), he doesn’t discriminate. A group sex is a horizon-widening experience which he doesn’t linger on. Like his budding, rudderless writing career, Max also seeks a private anchorage in a vast city by way of carefully selected rendezvous and unfeigned carnal knowledge. Each encounter is a secret behavioral and psychological study on both his client and himself. Max is a pleaser, he plunges into the action with verve and sincerity, each thrust or moaning feels authentic, each kiss is catalyzed with affection.
Mollica incarnates the Max/Sebastian dyad with a limpid self-awareness that becomes very relatable under the urban, online dating context. He cannot even come clean to Amna (Quasem), his best friend who is also queer, about his exploitative side hustle. Max’s closet is not homosexuality but deception and the shame of prostitution, that social prejudice still dams up his full acceptance of his sexuality (Stella Gonet's cameo as his mother palpably hints the distancing strain that sours the mother-son bond). SEBASTIAN shatters the hidebound preconception of the vulgarity and immorality of prostitution. For Max, selling his body is a material way to discover himself and establish genuine connections, monetary gain is secondary (granted that the high cost of living in London doesn’t make that easier).
However, Max cannot have the cake and eat it too. When the two apparently discrete circles threaten to collide, his panic button rings off, and Mollica is at his most compelling with the onslaught of Freudian trepidation, excitement and discombobulation. His handsomeness is achingly reflected through the inner turmoil that lays bare Max’s vulnerability in navigating a double life precariously on his own terms.
Max’s propensity of older men leans more towards sapiosexual than libidinous. Moreover, it seems what appeals to him is a basic human kindness that one cannot take for granted in such transactional arrangements. Mäkelä's film knocks out of the park a touching affirmation about a quest of one's own desire in all frankness and earnestness whereas Mollica, resembling the alias Max chooses for himself, whose martyr-like gorgeousness and crackerjack bent for telegraphing are his calling cards, is another supernova destined to shine on the screen.
referential entries: Ira Sachs’ THE DELTA (1996, 6.4/10); Sebastián Silva's ROTTING IN THE SUN (2023, 7.4/10); Marco Berger's THE BLONDE ONE (2019, 7.3/10).
A Gorgeous with a Bizzare TastennnI definitely did not expect that I will relate this much to the film. The part that I had to pause to write down the line verbatim was what Désirée said to Lake when they together rescued Mr. Peabody out of the nursing home, “What you are acting is very revolutionary. All these ideas that people have about aging and beauty, and what make somebody desirable, and you are going against that. You are fighting against nature, and do you see how radical that is? If you are a girl, you’ll be on my list.” These lines triggered immediately what was crossing my mind back and forth when I was writing my Bachelor’s thesis about “the Ugly” and “the Disabled”. I realized then how much love and sex mean to a human being, and therefore an other aspect of tragedy of those who lose the access to them because of what they are born with. In the majority of cases, our bodies react spontaneously to the beautiful and the ugly differently at the concerted efforts of what we have inherited from genes and the societal doctrines. But some ones have to go against the grain and the trend to react to “ugliness” with positivity and to “beauty” with negativity, and I kept thinking about to what extent can I do. I do not think that Lake was acting against his nature as what Désirée said. He was apparently aroused sexually by the traits of aging, and the only problem he was faced was the judgement and side-eyes of the majority of the society. To see “falling in love with marginalized group” as a fetish is another layer of marginalization to the people themselves and this act further excludes those (former “normal people”) who show sexual desire to the already excluded (I am writing this referencing to my notes in 2023 and it reacts perfectly to the discussion of this film). In another perspective, if being attracted to wrinkles is a fetish, why to smooth skin isn’t?nnnWhat made me think of this film as a fantasy is the casting. Obviously, director intentionally cast a model, a man who fits the aesthetic standard in every measures. The purpose is up for debate: to magnify the contrast and theatricality; To romantize the relationship with a traditional trope (association of physical beauty to ethic consummation). My personal interpretation is that it meets the fantasy of the unloved. Even though they(we) fall out of the grace of the public aesthetic preference, they(we) are still under such influence and share the preference, and dream about being loved by someone like Lake. Moreover, Lake is the pursuer who is willing to fight for his love. This could be supported by all the short comments of the film that are completely distracted by the appearance of Lake. This internal conflict is also the source of struggle.nnnAging and deformity/disability are two different things, as the former is something every human would be expecting, but the more detailed public perception should be further discussed. (People aged over sixty-five make up one-third of those with disabilities.(Shaping 1993, 6))nnnI have been thinking about working at welfare houses for a long time and I actually started looking for it, although my German language capability is still an obvious hindrance. This film somehow exposed my real intention behind, and also showed me the reality. What am I expecting from working there? A fantasy-coming-true moment? Do I even have such a fantasy? Or is it just because this is the only thing that I can call my cause? I might even be too small and weak for this job anyway. The circulation of this film could spread an image of what kind of old people Gerontophilla are supposed to like (are hot and attractive). Romantization helps normalize this relationship for those who believe true love wins everything. A sensual depiction makes it more convincing. Is this an unjust relationship? Is is associated with being a people-pleaser?nnnWho lives in such big houses. Typical cinematic framework (A person sitting on a king-size bed against a wall with a huge painting that usually represents the inner heart of the person). straightforward discussion, nothing special about the filming style. I cannot pinpoint all the characteristics, but I still want to call this film a typically fast-paced and low-budgted indie film. 小品 with minor jokes.nnI didn’t consider or didn't realize it to be cheating because they almost seem to be in an relationship that's out of the box.nnnDésirée: “You are such a saint”.is another moment when something clicked in my head. I don’t even think that this is a self-flattery anymore.nnnThere was even a joke about DB. How can I not relate. I sort of anticipated the endingnnnA ethic problem that this film entails is if the relationship between an 18 and 80 is justifiable when the younger one is the pursuer, and what if other way around. I really cannot give an answer.
Title: Gerontophilia
Year: 2013
Genre: Comedy, Romance
Country: Canada
Language: English, French
Director: Bruce LaBruce
Screenwriters: Bruce LaBruce, Daniel Allen Cox
Music: Ramachandra Borcar
Cinematography: Nicolas Canniccioni
Editor: Glenn Berman
Cast
Pier-Gabriel Lajoie
Walter Borden
Katie Boland
Yardly Kavanagh
Marie-Hélène Thibault
Brian D. Wright
Shawn Campbell
Jean-Alexandre Létourneau
Adam Capriolo
Louis Negin
Rating: 5.2/10
Title: Sebastian
Year: 2024
Genre: Drama
Country: UK, Finland, Belgium
Language: English, French
Director/Screenwriter: Mikko Mäkelä
Music: Ilari Heinilä
Cinematography: Iikka Salminen
Editors: Mikko Mäkelä, Arttu Salmi
Cast:
Ruaridh Mollica
Hiftu Quasem
Jonathan Hyde
Leanne Best
Lara Rossi
Ingvar Sigurdsson
Dylan Brady
Stella Gonet
Pedro Minas
Akbar Kurtha
Laurent Maria
Tom Viaene
Orlando Norman
David Nellist
Rating: 7.3/10
Canadian underground queer filmmaker Bruce LaBruce is a maverick with a notorious reputation as his blatant transgressions are preponderantly predicated on his porno-akin provocations often aspersed to mask as audacity. In this regard, GERONTOPHILIA might be an exception. Tackling the sexual taboo of a young boy's unaccountable lust towards senile men, the film is considerably less graphic than his other films since LaBruce is obviously not the one who is capable of aestheticizing the saggy skin, liver spots and deep furrows.
Lake (an angelically anaemic Lajoie) is an 18-year-old Canadian college student, habitually necking with his girlfriend Désirée (Boland), who is a self-claimed revolutionary prone to bragging about her “list” of candidates with whom she would like go sapphic, which is nothing but a load of mildly maddening hot air. Lake finds a cushy job in a retirement home and instantly takes to Mr. Peabody (an incurious and unflappable Borden), a white-haired, black gay grandpa who has a mischievously gentlemanlike persona, if not heavily sedated under the medication.
Lake's awakening to his kinks and his subsequent reconciliation with Désirée are handled with a frivolous touch that is devoid of any weight or emotional stake. The film changes its lane while Lake sneaks Mr. Peabody out of the home and drives him to see the Pacific ocean one more time. There is an awkward moment of jealousy when Mr. Peabody is approached by another youngster in a bar, just to prompt Lake to momentarily shed off his peaceable blandness and the morning after, admit his true feelings for Mr. Peabody. The dry irony is that the latter might not be alive to hear that.
Basking in a gelid and frigid hue and clinical surroundings, hogtied by a merely serviceable cast, GERONTOPHILIA seems inert, stilted and uninvolved in its own thematics, the only grace note is its nonchalant attitude covering a multitude of inconsequences under the banner of its nominal perversity.
Finnish-British filmmaker Mikko Mäkelä’s sophomore feature SEBASTIAN also delves into a young man’s erotic experiences with older males. Max (Mollica), a 25-year-old up-and-coming Scottish writer in London, furtively moonlights as an escort, choosing the name Sebastian, on the pretext of garnering inspos for his debut novel about sex workers in the megalopolis.
The peculiar whiff of coming to terms with one’s own kinks transfuses throughout the entire film. Max prefers a covert date with his clients to hang out and make out with his hormone-driven coevals. He is willing to explore his sexuality with different types of guys, whether a soft-spoken blimp (Nellist), a Nordic gruff daddy (Sigurdsson), or a demisexual literature professor (Hyde), he doesn’t discriminate. A group sex is a horizon-widening experience which he doesn’t linger on. Like his budding, rudderless writing career, Max also seeks a private anchorage in a vast city by way of carefully selected rendezvous and unfeigned carnal knowledge. Each encounter is a secret behavioral and psychological study on both his client and himself. Max is a pleaser, he plunges into the action with verve and sincerity, each thrust or moaning feels authentic, each kiss is catalyzed with affection.
Mollica incarnates the Max/Sebastian dyad with a limpid self-awareness that becomes very relatable under the urban, online dating context. He cannot even come clean to Amna (Quasem), his best friend who is also queer, about his exploitative side hustle. Max’s closet is not homosexuality but deception and the shame of prostitution, that social prejudice still dams up his full acceptance of his sexuality (Stella Gonet's cameo as his mother palpably hints the distancing strain that sours the mother-son bond). SEBASTIAN shatters the hidebound preconception of the vulgarity and immorality of prostitution. For Max, selling his body is a material way to discover himself and establish genuine connections, monetary gain is secondary (granted that the high cost of living in London doesn’t make that easier).
However, Max cannot have the cake and eat it too. When the two apparently discrete circles threaten to collide, his panic button rings off, and Mollica is at his most compelling with the onslaught of Freudian trepidation, excitement and discombobulation. His handsomeness is achingly reflected through the inner turmoil that lays bare Max’s vulnerability in navigating a double life precariously on his own terms.
Max’s propensity of older men leans more towards sapiosexual than libidinous. Moreover, it seems what appeals to him is a basic human kindness that one cannot take for granted in such transactional arrangements. Mäkelä's film knocks out of the park a touching affirmation about a quest of one's own desire in all frankness and earnestness whereas Mollica, resembling the alias Max chooses for himself, whose martyr-like gorgeousness and crackerjack bent for telegraphing are his calling cards, is another supernova destined to shine on the screen.
referential entries: Ira Sachs’ THE DELTA (1996, 6.4/10); Sebastián Silva's ROTTING IN THE SUN (2023, 7.4/10); Marco Berger's THE BLONDE ONE (2019, 7.3/10).
A Gorgeous with a Bizzare TastennnI definitely did not expect that I will relate this much to the film. The part that I had to pause to write down the line verbatim was what Désirée said to Lake when they together rescued Mr. Peabody out of the nursing home, “What you are acting is very revolutionary. All these ideas that people have about aging and beauty, and what make somebody desirable, and you are going against that. You are fighting against nature, and do you see how radical that is? If you are a girl, you’ll be on my list.” These lines triggered immediately what was crossing my mind back and forth when I was writing my Bachelor’s thesis about “the Ugly” and “the Disabled”. I realized then how much love and sex mean to a human being, and therefore an other aspect of tragedy of those who lose the access to them because of what they are born with. In the majority of cases, our bodies react spontaneously to the beautiful and the ugly differently at the concerted efforts of what we have inherited from genes and the societal doctrines. But some ones have to go against the grain and the trend to react to “ugliness” with positivity and to “beauty” with negativity, and I kept thinking about to what extent can I do. I do not think that Lake was acting against his nature as what Désirée said. He was apparently aroused sexually by the traits of aging, and the only problem he was faced was the judgement and side-eyes of the majority of the society. To see “falling in love with marginalized group” as a fetish is another layer of marginalization to the people themselves and this act further excludes those (former “normal people”) who show sexual desire to the already excluded (I am writing this referencing to my notes in 2023 and it reacts perfectly to the discussion of this film). In another perspective, if being attracted to wrinkles is a fetish, why to smooth skin isn’t?nnnWhat made me think of this film as a fantasy is the casting. Obviously, director intentionally cast a model, a man who fits the aesthetic standard in every measures. The purpose is up for debate: to magnify the contrast and theatricality; To romantize the relationship with a traditional trope (association of physical beauty to ethic consummation). My personal interpretation is that it meets the fantasy of the unloved. Even though they(we) fall out of the grace of the public aesthetic preference, they(we) are still under such influence and share the preference, and dream about being loved by someone like Lake. Moreover, Lake is the pursuer who is willing to fight for his love. This could be supported by all the short comments of the film that are completely distracted by the appearance of Lake. This internal conflict is also the source of struggle.nnnAging and deformity/disability are two different things, as the former is something every human would be expecting, but the more detailed public perception should be further discussed. (People aged over sixty-five make up one-third of those with disabilities.(Shaping 1993, 6))nnnI have been thinking about working at welfare houses for a long time and I actually started looking for it, although my German language capability is still an obvious hindrance. This film somehow exposed my real intention behind, and also showed me the reality. What am I expecting from working there? A fantasy-coming-true moment? Do I even have such a fantasy? Or is it just because this is the only thing that I can call my cause? I might even be too small and weak for this job anyway. The circulation of this film could spread an image of what kind of old people Gerontophilla are supposed to like (are hot and attractive). Romantization helps normalize this relationship for those who believe true love wins everything. A sensual depiction makes it more convincing. Is this an unjust relationship? Is is associated with being a people-pleaser?nnnWho lives in such big houses. Typical cinematic framework (A person sitting on a king-size bed against a wall with a huge painting that usually represents the inner heart of the person). straightforward discussion, nothing special about the filming style. I cannot pinpoint all the characteristics, but I still want to call this film a typically fast-paced and low-budgted indie film. 小品 with minor jokes.nnI didn’t consider or didn't realize it to be cheating because they almost seem to be in an relationship that's out of the box.nnnDésirée: “You are such a saint”.is another moment when something clicked in my head. I don’t even think that this is a self-flattery anymore.nnnThere was even a joke about DB. How can I not relate. I sort of anticipated the endingnnnA ethic problem that this film entails is if the relationship between an 18 and 80 is justifiable when the younger one is the pursuer, and what if other way around. I really cannot give an answer.
电影很浪漫、很温暖，尤其是男主的笑，即使是最寒冷的冰，也能被融化，如沐春风。他步伐轻盈，就像踩在你的心上跳舞，让人心醉。
表面上看，这是一个20岁小鲜肉爱上82岁优雅老爷爷的故事，以及还有三分之一的公路片元素。这两个男人间的情义，总让人不禁想起《触不可及》里的相知与包容，尽管两者是友情与爱情的区别，但都是两个灵魂间的碰撞。
在男男相爱的主题之外，其电影内核已跳脱出一般的猎奇，而是充满了人文关怀，在世界范围内，目光可及之处，加拿大导演布鲁斯真切地关注了当一个人老去，也有权利被爱，以及如何有尊严地活着。
电影中，生活在养老院的老人们，被嫌弃、被厌恶、被歧视。你看，老人这一群体，不知从什么时候起，已经不知不觉被纳入到“被歧视”一族中，哪怕高峰期挤地址公交也可能遭白眼。所以，电影中那些拉撒不能自理，可能到处走动但院方为了省事而强行打针安定老人，甚至老人只要不听话外出就会被四根皮绳五花大绑固定在病床上···
在年华老去，在失去亲情的这些老人面前，自由和爱，显得那么遥远。他们动不动就要被迫吃下院方给的彩色药凡，又何谈心愿，何谈梦想。
但作为一个人，他们也是活生生的存在，一个活着的生命体。老了就不能有想法，老了就要被困在原地？在崇尚自由民主与爱的西方发达国家，有钱去养老院的老人的境地尚且如此，更何况贫穷的第三世界国电的贫穷老人们，他们的悲凉晚景可想而知。
布鲁斯导演不忍心老人这样度过最后的人生，于是安排了一位天使来到了老人的身旁，用“反人性”的方式爱上了老人，并且带着他逃离养老院，踏上了去太平洋看海的梦之旅。天使般的男主，还在短暂的旅途中，协同到小超市偷东哥，为老人过生日，甚至因为有其他小鲜肉搭讪而吃醋···
布鲁斯导演用这一种又一种的不可能，完成了他对老人应有的晚年的美好想象。并安排老人在开心的旅途中，在爱人表白的那一刻，离开人世。
太浪漫，太梦幻了。
这一切，只能在梦中实现，可不是？
如今，在迅速老龄化的世界步伐中，导演对此议题的思虑不无具有前瞻性。
老了，也要有爱的权利；老了，选自己所选；老了，更要有尊严的老去。
如此说来，《四个春天》里的那位相亲相爱的父母，才是人间最佳范本。
最后，本片男主的颜，已炸裂逆天。
如果你把片中两个人的感情看做是一般的男女恋情，就会发现至少在片中两人的恋爱情节再正常不过（有没有想起泰坦尼克号），但是同时你也会发现这么看来影片也确实无聊到一种地步，除了小鲜肉让人忍俊不禁的嫉妒情节和祖孙超市大盗的片段。剩下的时间基本靠男主的脸和表演在撑。话说回来，男主的表演确实可谓是上乘，他的成熟从照顾家庭到照顾老人是一脉相承的（注意！影片并没有因为男主是年少的一方就把他设定为要受人照顾的角色），也就是这样的反差才让最后的吃醋情节显得更有人情味和可爱。
写在前面：目前这部电影只有咪咕上面有在线片源，但是因为是加拿大地区的影片，所以其实有几乎一半的对话是法语，养老院内的很多指示牌也是法语。字幕组明显是听不懂法语的，所以很多时候是凭想象在“编”字幕，而不是在翻译。
我从专业角度分析下这部电影几个关键词：
1.恋老癖：
某百科上把这种特殊的性癖好归类为“性变态”，但也表示如果不影响日常生活，不需要治疗。年轻人对老年人有性冲动的确罕见，因为正如电影中前女友所说，“大众的审美是年轻=美”，所以对老年人有性冲动的癖好会被大众认为“恶心、羞耻”。但其实仔细想想，这种老少配也不是那么罕见的啦，老年明星、富豪、学者、艺术家也经常爆出“吃嫩草”的“丑闻”，我就不举例了，避免被黑。
2.同性恋：
这部电影里没有对同性恋进行什么深刻讨论，而且也跟想要表达的主题没什么相关性，只是作为一个既得事实陈述，即Malvin Peabody是文艺圈的，一直是gay，他的存在被亲人认为是一种耻辱。而小帅哥则是只对老（男）人有性趣，但是一直没有做出尝试(直到遇见Peabody)。
3.老年认知症（老年痴呆）
这部电影为了表达浪漫气质，有过度美化疾病的嫌疑。从专业角度分析，为什么Peabody爷爷会入住养老院，并且长期受到不合理地药物约束呢？如果只看这个电影的表述，会引导观众认为养老院给他用药是在“毒害”他，而他不吃药的时候是很健康、很正常的。
然而，从一些描述中我们可以直到，其实他是患有轻度认知障碍的老人。也就是他总是试图逃跑。但是，一个经济比较富裕的单身老年男性，没有子女、伴侣强迫他入住养老院，如果他真的想要回家，没有人有权利阻止他。
那么他究竟为什么入住养老院呢？
我只能有一种推测，他其实认知障碍的程度已经影响正常生活了，是医生建议他入住养老院的。也就是说，他和小帅哥私奔后表现出身体完全没有问题，也没有失禁、压疮，没有记忆障碍、或者其他行为障碍、甚至还有正常的性功能，我认为很大程度上是美好的艺术幻想凌驾于实际生活之上了。
4.虐待老人：
这部片子里体现出了几种西方养老院内常见的虐待老人的情形。当然了，这些在西方国家可以被认为是“虐待”的行为，其实在中国还不会被法律或者大众认为是“虐待”，因为在中国目前暴力虐待、遗弃老人的行为还管不过来呢，这些隐性虐待行为无暇去管。
在国际上对于“虐待”的定义，包含比较广泛，而不是我们简单理解的仅限于“身体伤害”。
a.约束：
约束分为两种，物理约束和药物约束。在本剧中，我们可以看到最典型的药物约束，也就是用安定、安眠类药物导致老人/病人终日昏睡，副作用是会出现幻觉（小哥偷吃了药，就出现幻觉了）。另一种是我们在中国更常见地物理约束，这个也有体现。
关于约束我多说几句，不论是国外还是国内，药物约束都是需要严格按照医嘱的。而物理束缚，在国外也是非常严格管理的，而在中国则是比较常见的一种手段。但不论在哪里，不论目的如何，滥用约束都是违反法律、道德不容的做法。在本片中我们看到的情况，是典型地违反法律和职业操守的做法（同时又是实际生活中常见的)——护士在养老院管理者的默许下，对老人进行未经医嘱的药物约束。
但咱们也要考虑事物的两面性，建议观众不要片面考虑，一味谴责，也要从理解护理者的动机角度去看这件事。关于约束对象，在养老院内，主要针对的是有行动能力、肢体能力相对正常，患有中度及以上认知障碍（俗称老年痴呆病）的老人。因为大脑严重退化，导致行为异常，常见的状况有记忆障碍、语言障碍、逃跑、走失、攻击他人、大喊大叫、幻觉、持续踱步等等⋯⋯所以在管理和服务能力不足的情况下，不少养老院会选择物理束缚。其实也不只是养老院，就算是子女、保姆在家照顾这样的老人，一般也会采取物理约束的措施。毕竟，如果不进行约束，老人走失、跌倒、发生其他致命意外，这个责任谁来负呢？
b.经济侵害
影片中展示的是养老院中的工作人员利用职务之便，诱导或协助老人贩卖处方药。
除此之外，针对老人的经济侵害还有很多，中国人比较常见的是，比如保姆诱导老人把自己作为遗产继承人，或直接盗取老人财产等；子女抢占老人房产、财产，并把老人驱逐出去；还有咱们现在几乎人人家中都会遇到的针对老人的保健品、投资诈骗等行为。这就离题较远了，不细说。
c.性侵害
本影片中展示的虽然是老人和护工之间是爱情，但是如果在实际生活中出现这种情况，这是绝对属于违反职业操守的，甚至可以被认为是性侵的一种。
不信？你只要把小帅哥的角色换成一个更常见的护工类型，一个中年大妈或中年大叔，而老人则是一个长期卧床的认知症患者（也就是说行动也不便、头脑也不清楚），不论男女，这些行为都属于妥妥的性骚扰或者性侵了。
b.非法劫持
深夜把养老院中的认知障碍老人偷偷带走，这绝对属于犯罪行为。如果现实中出现这种事，不仅这个小帅哥要承担刑事责任，这个养老院也会因为管理不善而被起诉。当然了，电影中老人和家人都没什么来往，自己又突发疾病意外死亡了，不会有人起诉。
d.渎职
这个就不属于法律范围了，但是肯定违反了职业规范。护工一般上班时间都被安排得很满，工作量很大的，怎么可能像这个小帅哥这样，还跟老人打牌啊，睡同一张床啊，画裸体肖像啊。我的天你是在上班吗？我知道你妈傍上了院长，能给你撑腰，但也不能这么任性吧！
护士大姐也是，晚上有人推老人出门，竟然也不询问一下。要知道，在自己值班的晚上老人走失，那可是要承担巨大责任的！
哎写太长了。总之，这个电影真的应该囊括进老年护理专业培训课程，用来做反面教材。“同学们，现在我来播放一个视频，请大家指出其中的错误操作！” 很好用。