置顶提示：（很重要）

就当下饭剧，友情提示：最后一集请在31:00时关闭你的视频App，当它就是大结局，不然真的气闷。

说句烂尾不为过吧。

就一碗不错的面，吃到了最后赫然发现：碗底躺着一只苍蝇，简直绝绝子。

1.剧情前期有搞笑的点，逻辑不细究也基本合得上，有瑕疵但不影响观看和剧情推进（国产剧不求严丝合缝）；但不知道从哪集开始，就开始尬得不行，后面几集更是强行改人设，制造矛盾，最后结局直接就？？？

弹幕说不要看结局，我还纳闷，这直接放了个大招啊，能雷到一片人。（此处要骂某些部门的某些狗屁规定）

2.剧中人物的设定，总得来说，多多少少有些脸谱化，但也都情理之中。

3.男女主以及配角演技都OK，不拉胯。

女主这个演员真的灵得不行，长短发气质也是转变很大。

男主有些地方会过了点，其实女生很多没有那么矫揉做作，但是也都能接受。

希望他们的演艺生涯更加精彩吧。

我只是一个没看过原著的普普通通的看剧人。

另外某些部门的狗屁规定是真的狗屁。

脑残，过家家，若大个背景人人都是亲戚，各种你爱我我爱他他又爱他，演技各个没毕业，剧情更是搞笑到极点，有一段国军团长要得到张家传家宝（一个瓶子） 命张劲虎去偷，拿不回来就要你的命，后来被他爹发现，张劲虎说到如果不交出来自己就会没命，他爹直接说了想要我的宝瓶没门，你自己想办法，转身长扬而去顿时我疯了。 山寨二当家不错傻白甜

山寨二当家傻白甜挺好

小时候看《英雄》，觉得刺杀太难了，李连杰杀了这么多江湖义士，就是为了再近十步，再近五步的靠近目标。似乎这是一个战斗游戏，你得将所有的道具都打出来，让自己变得无比强大，才有可能最后通关。

但现实中却往往不是这样，不可一世的大人物，会莫名其妙的被一个名不见经传的nobody杀死。而若干年后，这个nobody一生唯一会被人记住的就是杀死了某某某。

Fred Hampton的死太过轻而易举了。似乎只要胡佛想了，他就死了。画房型图、下药，都不是重点，即便没有这些，结局依然一样。甚至Bill O'Neal存不存在都不重要，他作为棋子的目的是，能让FBI更合逻辑，更好交代，更不露痕迹的消灭黑豹党。而绝不是能不能消灭的问题。

犹大只是射出去的箭，而不是射箭的人。即便没了犹大，还会犹二、犹三。而在耶稣死后，当人们所有的矛头都指向犹大，只能说是射箭者的第二次胜利。

终于追完了《我们无法成为野兽》，不得不承认，我们的确无法成为野兽。

野兽完全是依照直觉生活啊，顺应本心，无拘无束。

人类，早已经被规则、法律、道德束缚，戴上了一层又一层的枷锁。

根本不想工作啊，每天去上班想着就很痛苦，夜晚宁愿很晚睡，只为了延长休息的时间，可是再晚第二天早上还是得在规定的时间爬起来去讨人厌的单位。

根本不想恋爱啊，白马王子像在全世界消失了一样，厌烦了被人介绍、厌烦了相亲，可是如果不结婚就会被当成异类，如果不结婚就没资格繁衍。

每天都痛苦的活着，每天都麻木的活着，逼着自己笑容满面，假装自己没有受伤。

上司毫无缘由的指责和怒骂，忍得胃疼心疼都不敢反驳，因为离开了这里不知道怎么生存，现在的大环境就业率不高啊。

恋人莫名其妙的消失或劈腿，气得抓狂发疯都没有说破，因为不知道离开了他还能不能遇到更好的下一个。

我们始终无法成为靠直觉行动的野兽。

可忍耐啊，终究是有限度的，要么在忍耐中消沉，要么就在忍耐中爆发。

不想失去自我，不想抑郁自杀，没办法顺从直觉，那就在忍无可忍后，向生活扔个炸弹吧。

不喜欢那份工作，辞职了就是，在那里不开心不意味着在其他地方也不开心。

不喜欢那个人，分手了就是，和他不合适不意味着和所有人都不合适。

没有勇气走出困境，也就没有机会找到自我。

压抑的生活，其实就是一团死水，为什么不敢向生活扔炸弹了？

是怕扔到了上司？可是生活的压抑有可能就是上司带来的。

是怕扔到了恋人？可是感情的受挫有可能就是恋人造成的。

你害怕的恰恰就是你要面对的，痛苦的症结就是你害怕的人和事。

挺羡慕吴羽，因为她确定无法成为自己以外的人。

我们又为什么能确定可以成为自己以外的人呢？我们也不愿意失去自我啊。

所以，向生活扔个炸弹吧。逃个课也好，旷个班也好，反抗上司也好，指责恋人也好，总得把真实的情绪发泄出来。

炸伤了自己，起码还知道疼，起码还能感受到生命的活力，人啊，越折腾越强大。

我也明白，仅仅扔炸弹是不够的，无论是深海晶的辞职，还是根元恒星的举报，看似没有退路的他们，并不是真的找不到出路。能力、经验、智慧，这些因素他们一样都不缺，自身的素质早已给了他们安全感，缺乏的只是舍弃的勇气。

所以，如果可能，向生活扔个炸弹吧。如果还没有扔炸弹的勇气，那就先默默地学会不被炸弹炸伤的本领或者在扔炸弹前找到更安全的地方。

别害怕炸伤了别人，炸弹的能量未必那么强烈。想扔掉的那颗炸弹，其实是自己内心积攒了很久很久的负面情绪。它也许根本伤害不了别人，但它可以解救和释放自己。

向生活扔个炸弹吧，无法成为野兽的我们。

写在前面：这是我本科通识课堂上用英文写的一篇影评。因为我并没有受过电影学或者性别研究相关的写作训练，难免有些词用得不够恰当。原文里也许还有语法错误或者表达不当的地方，也请谅解。

Although based on an ungendered perspective, the 1987 film Human, Woman, Demon by Huang Shuqin depicts the development of a woman's selfhood that can be interpreted through her "desire for and denial of the female identity" (172; 219). The protagonist, Qiuyun, has fully devoted herself to her theatrical career as the male lead to get away with the traumatizing experiences from childhood, which contributed to her adolescent disorientation in gender identity and career goals. Being a respected mid-aged woman, her mind is continually being torn apart by the binary gender roles that socio-ideologically enforced on her, as she maintains as a masqueraded model of manliness/masculinity on stage and a wife-mother figure in unfulfilling family life (219). The film's ending embodies her reconciliation with her inner struggles as she finds peace and her female subjectivity in communion with her ghost persona on stage.

In a seamless, panning transition of the camera, the scene edited before Qiuyun's final reconciliation with the opera ghost depicts the very beginning of her life through the narrative of an elderly midwife. The midwife recalls the day of Qiuyun's birth (94:27-94:35) and how she turned out to be a girl to her father's surprise, as he had presumed her to be a boy until the midwife examined her body, "When I took a look at you, I didn't see the manhood. You are really a girl! /等我一看啊，少了那个玩意儿…是个小姑娘家!（笑）." In addition to her conversation with her father after the village banquet, I think that Qiuyun's reunion with the midwife foreshadows the emancipation of her repressed female identity. Appearing as a new character in the next-to-last scene, my understanding is that the midwife serves symbolic purposes as an incarnation of the proper womanhood and Qiuyun's guide out of the identity dilemma.

Based on the few lines, it is not difficult to observe that the midwife is an attentive, keen person and the only female character that has ever shown benignancy to Qiuyun throughout the film. Even that colleague who babysits her younger child is indifferent to her complaints about her husband (74:01), not to mention the town girls who left her helpless in public ostracism (40:43) and the other students in the opera troupe. The midwife is also an antithesis to Qiuyun's mother, for the former welcomes her female body into the world, while the latter makes her deny the female identity. According to Cui, the screen space can be seen as "a psychological world suggesting the characters' potential thoughts and feelings" (236). The amber color palette in this scene creates a heart-warming atmosphere, making the midwife a maternal figure, moreover, a model of morality that the heroine never had.

Not only does their brief reencounter (93:27-94:35) recognize her female identity as inevitable and naturally given, it also amends the pains the protagonist has endured for the pursuit of the female identity. Caught up in the gossip of a sexual scandal with teacher Zhang, one of the male figures that evoke her desire to secure a female identity, the young Qiuyun is voiceless and frantically spreads her face with a hideous masquerade of red and black paints (70:15). She has smeared down the colors with both hands and caressed her cheeks before she has the meltdown (69:56-70:12). It is then she realizes that she has no one to seek guardian from. In the post banquet scene, which supposedly happens many years after the scandal, another pair of hands fondles along her cheeks. The midwife touches Qiuyun as gentle as possible when she expresses her joy in finding out Qiuyun's female identity (94:35). Both scenes have the visual of the heroine centered within the frame in a close-up shot and the same motion of hands. They are filmed with low-key lighting in dark background in the same camera angle as well. Qiuyun, in both timelines, is the subject of the screen space and her psychological world. Apart from the costume and make-up, the two scenes are parallel to each other yet convey distinctive messages based on each scene's mood. The teenager Qiuyun is under anxiety and imbalanced by her choice of gender, and she goes into self-destruction as the hands fall and carry her cheeks; The mid-aged Qiuyun is happy to see her old acquaintance, and then she reveals a genuine grin—a sign of self-salvation.

【详细】

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