組織對她如棋子，家人待她如棄子，本該守望相助的昔日愛人縮在陰影裏，盼望在懷裏腦漿迸裂的敵人卻鑽進了她心裏。 曆史巨輪壓在她身上時，為他唱天涯歌女後的溫存是局促又難得的貼近彼此，相互理解，還摻雜了一絲真心。為這一絲絲，想放下一會兒家國，選擇一秒鍾的愛和自我。“走吧”，盡管是悲劇，但至少自己完整了。 真的很美，管他對與錯，都像最後一個鏡頭裏的褶皺，終究會被淹沒和遺忘。

4.5 love it, even though the line between fiction and reality is supposedly clear particularly after 2nd viewing (obviously, the execution, the writer, the attempted suffocation by pillow scene are all imaginary) , there are still lots of postmodern smoke and mirrors and humors left (what the heck with all the bleeps, what does alien abduction mean, and at the very end, is Petrov just returning home ALONE? and his house becomes a dollhouse! Has he always been alone and the entire film is his comic work?). Now the cliched praise: dashing camera, surreal transition, 3-act structure each in its own shooting style and lighting invoking distinct emotions and motifs undercutting one another.

Matthew飆演技啊。淚奔 。

磕過77年的阿司匹林，便留下了來自蘇聯時期的後遺症

剛開局時，可能會有些讓人不舒服，但到後麵，會有靈魂被洗刷的感覺。宗教氣息挺濃，一個浪蕩子最終救死扶傷。幾位演員做出了巨大的犧牲，奉獻了他們人生最精彩的表演。對有些人來說，活著就是緊緊攥住意誌力的韁繩，製服那頭蹦躂公牛，盡量不從牛背顛下，能待多久，就待多久。