同一个空间不同的时空相似的死亡事件穿插的恰到好处我在60年代看到的是“女人的敌人永远不是另一个女人而是一直在出轨的男人”;在2019年看到的是“婚姻的路上三人太窄两人刚刚好”;在80年代看到的是“永远做个高雅善良的自己”80年代的 Simone 和 Karl 这一对虽然是“形婚”Simone 得知真相时也痛恨过 Karl 但整理好情绪过后多年的情感掩盖了愤怒这两个人虽不是爱情却比另外两个年代的夫妻更加为对方着想坐在他嘴上帮我添更加真心地乐意让对方获得幸福80年代的女主人设很睿智不得不说 80年代的故事很精彩
巴扎嘿:210.32.162.236
女人的伟大有时候超乎你的想象 奶茶是可以让一部电影化腐朽最起码为惊喜的
请跟我来:121.77.0.193
妈的我真的忍不了谜语人了坐在他嘴上帮我添除了是摄影大赏我不懂这个故事说的必要是不是根本没有剧本只是拍了几个镜头剪在一起的对不对顺便一说我真的好讨厌阿彼察邦大陆导演能不能不要学了要学就学毕大导演路边野餐摄影镜头语言和剧本都很有意思看了两个小时我真的忍不了了怎么对这种叙事着迷的I can not
4.5; Never before have I seen a zombie film with so many layers. The symbolic meaning of the infection is announced from the very beginning through footage and words to be 'rage', and the violence induced by it henceforward becomes the centre of the film's criticism. But what adds to the film's complexity is the fact that the protagonist is empowered only by rage to fight for those he loves and defeat the purposeless soldiers, who by contrast fight for nothing but themselves. The film thus indicates a place for violence in humanity and hints that violence is not inherently the abject. It also draws a comparison between two archetypes of fatherhood: permissive & autocratic