70年代法國主流敘事電影的政治化。迪亞娜 科依斯。喜劇片也吸收了左派主題。動人地描繪了1968年事件以後的年輕人。無資源

1994年，小學三年級，家裏剛買錄像機，周末約了小夥伴租帶子來看，客廳被擠得滿滿當當，那時還是國語，家人進進出出，我始終捏著一把汗，生怕屏幕上出現影響少先隊員先進性的畫麵和情節被發現，他們則看得津津有味不時哄堂大笑。昨夜重溫，這片子並沒有那麽好笑，星爺已老，舊友散去，剩下的隻是感傷。

Weill portrays a single, green girl's helpless loneliness in a big city (it's always NYC) with such authenticity and delicacy; Susan's not selfish but only scared, of being WITH someone and making up her own calls. And that's not only the struggle of being single but also being a single woman during the 1970s after the 2nd-wave feminism movement. Yet it remains pertinent now more than ever: How hard is it to be in the counterculture when mainstream prevails? How would marriage do to friendships? What's it like to maintain the female perspective? Frances Ha's answer pales like a superficial YA novel in front of this one.

幾段配樂是亮點，少女這條線本為了對比同樣犯過錯誤的未成年人在監牢外亦得到救贖，但艾靜的表演實在一般，整個線最終落入狗血實屬敗筆。少年犯到政治這條線很好，站在少年犯的角度，亦讓人去了解所謂等候英女皇宣判是一種怎樣的煎熬與絕望，但結局突然太過積極向上，快到讓人以為看了另一部片的結尾

挑戰電影的邊界，非常規紀錄片，試圖理解她的剪輯思路但失敗，幹脆放空著看也挺好。到最後遠離紐約的鏡頭，我在想，雖然自己一直覺得北京的生活很臨時，分分鍾要撤，但回家也並不更有歸屬感。sigh。