生而为人，更高的能力意味着更多的责任。现代人生活里似乎离不开焦虑。说到焦虑，人们到底在焦虑什么？焦虑政策，因为朝令夕改；焦虑房价，因为日新月异；焦虑工作，因为朝不保夕。所有的这些都是不敢让人有计划，生活不敢有规划，不敢谈未来，只能说眼前，这一切一切的不可预见性就是焦虑的根源。于是，焦虑也就成为了这个社会中人们各种行为的基础心理活动。
 
明星也是普通人，走下舞台的明星更过着普通人的生活。生活难免会有焦虑，有焦虑就难免有灰头土脸的时候。生活让焦虑的人，让我们，也让电影《走出尘埃》的主人公方和平灰头土脸。


 
电影《走出尘埃》中方和平的扮演者是曾经红极一时的摇滚乐队主唱，在经受父亲突然离世的打击后毅然选择退出乐坛。无独有偶，原黑豹乐队主唱秦勇受到方和平故事的吸引大抵是因为自己的亲身经历与方和平有相似之处。

最近扩展新欢，迷上yuki amami 天海祐希。于是按简历搜片，甚至冢剧。。。

不粉不知道，佑里酱竟然和小武有交集！ 96年的《迷雾》，号称情欲版《罗生门》。

终于绕到标题了《罗生门》了，久仰大名的大师片。上课只看树林小小片段嘛，今天算补课。

其实《罗生门》的故事很简单，一个武士带妻子经过树林，遇到见色起歹心的强盗，最后武士死了。

但强盗，武士的亡灵，武士的妻子以及樵夫对案发经过却各执一词，谎言与真相表达了人性的玄微。

 

montage的著名实验，3个镜头：一个笑脸，一个哭脸，一把抢。不同的序列组合就可以产生不同的，甚至意义相反的故事。

我曾用逻辑为标准，既然能产生逻辑正确的序列，那么是否能产生逻辑不正确的序列。进而组合失败。

情理之中 ，往往是观众评判影片好坏的标准。必须慎重对待，那些组合失败的产品。

 

其实，通过今天的补课，我发现了，这个实验的一个关键点被我遗漏。 已有工作的低端性，也许的主因。

被我忽略的竟然是悬念的诞生。

也就是说，当序列组合逻辑越正确简单的时候，观众心中的句式也就越接近陈述句。

而序列组合逻辑开始不正确，或者说绕出常识之外，观众心中的句式也就演练成了问句甚至叹句。

《罗生门》走的更远，它将这些组合并列呈现，变化重复中，逻辑从简单正确渐渐走向不正确模糊。

电影带来的观感，如同当满弓的箭，在最后一秒射出，而疑问，最终也不被解答。

《罗生门》载入历册，影片分析基本已经盖棺定论了。不必再表！

而佑里酱和小武的《迷雾》，豆瓣上评论显示基本是非粉不会看了。

首先作为养成中的NCF,当然是后者比较好看嘛。。。

其次，剧作诉求上，特别是最后一段：女性的自觉性觉醒和弑亲。

在淳朴的50年代，根本是不可想像的嘛。

我们的时代道德伦理沦丧，价值观混乱一片，两性对抗激烈。

爱，终于显露出，它本质中邪恶和无理性的一面，恶之花满山遍野，极致的妖娆之美。

自然朴实的人们还会发出了怀疑的声音：请勿妖魔化爱情～～ 我们不信也不理解！

所以这部魅惑的时代之作，被冠以情欲之名，不被评论理睬。

可请别否认，这是多么美好的个性影片。

它从忠诚的正面价值开场，渐渐滑落入背叛的矛盾负面价值，最后堕入自我背叛的情欲和天谴式的黑暗极限。

 

维特根斯坦的纯净逻辑名言：对于不可言说之物必须保持沉默。

在叫嚣的时代车轮之下，我们对言辞的正义性，早已经没有了共识，因为行为早已违背了语言的界限。

唯一可辩的只剩下发言者的良知，而我们必须承认，这是任意的随机显示。

 

最后，

嘿嘿~~，粉宿命呼唤，下一站： 《阿修羅城の瞳》

 

导演和编剧很坏。他们让剧情随着现实时间走，让观众和梅格雷探长同步接收情报并思考，但最终的故事，既不是根除警察里的败类的无间道，也没有拔除一个根深蒂固的黑社会网络而痛快人心……影片最终只是，让一个人渣死了？真是：平淡无奇，寡淡单薄。 “消耗了那么多脑细胞，猜过...  (展开)

这篇影评可能有剧透 任何艺术都旨在清晰且充分地表达创作内涵——即主题、人物与材料为何会发展到戏剧性冲突最激烈的点，又为何会走向设定的结束。检验表达是否清晰充分的最好方式，便是投入到作品当中去，如果欣赏完作品后，留下来太多不明不白的疑惑，或许艺术的陈述就存在火候不够的问题。 《亲...  (展开)

讲道理有这三点得其二应该就可以很满足当代网瘾患者的口味了 可惜我写下这个影评的时候2018年已经走掉了他最后一根屌毛这个片子的评分也只有7.8 想了一下刚刚看完的《我是大哥大》两者剧本一作比较觉得这个世界真是不公平。（其实我没看完 看到第8集就实在看不下去了，虽然第七...  (展开)

Song of the Exile reveals its veil with an extreme close-up of a bicycle wheel, accompanied by Hueyin’s sentimental narrations. Hueyin, the narrator and one of the protagonists, isa Sino-Japanese (ethnically) studying in London. Aiko, Hueyin’s mother, is a Japanese who has been living in Macau and Hong Kong since the end of the Second World War.Hueyin’s grandparents, in reliance of their illusionary imagination on Mainland China, choose to settle down in Guangzhou in the shadow of Cultural Revolution. Seemingly all the main characters in Song of the Exile are in displacement from motherlands and resettlement in host lands (Yue). This essay will analyze the displacement and its reconstruction of identity in the context of Song of the Exile.

As to Hueyin, a subtle implication on her contradicted ethnicity and nationality arises when she is typing another resume after she receives the rejection letter from BBC. The heading of her resume indicates that she was born in Hong Kong (“Place of Birth: Hong Kong”) but she is a British (“Nationality: British”). The scene not only epitomizes the colonial history of Hong Kong, but also portrays the discrimination Hueyin encounters as an ethnical Chinese. She should have been treated equally as her local friends on application to BBC in terms of nationality. Yet more often she is isolated in the pub and unintentionally alienated when her friend mentioned about using chopsticks, which symbolizes a classical imagination of orientalism. All these subtle fragments pile up, Hueyin gradually realizes that although she lives in London and speaks fluent English, she still belongs elsewhere. She is indeed “an exile in a foreign land” (Erens).

That’s probably why Hueyin erases her resume and instead types a farewell letter to her friends in London. The opening scenes depicting the landscapes and culture heritages of London, especially appealing to most people in Hong Kong at 1990s after the demonstrations on Tiananmen Square. The image of London is somehow embellished in the diffusing suspicion of returning to socialistic China. In terms of Hong Kong, the model of One Country Two Systems “includes Hong Kong as a part of China but excludes it from legal structure” (Yue) and economic coordination. All those British culture and heritages left in Hong Kong cannot be simply replaced like the replacement in nationality derived from the handover, not to mention the reconstruction of recognition of Chinese identity. It seems that Hong Kong itself, like Hueyin, also lives here but belongs elsewhere.

The same displacement occurred to Aiko,Hueyin’smother, who has been living in Macau and Hong Kong for most of her life. She tells her older brother how difficult her life is in a “foreign country” upon reaching her hometown in Japan. As a Japanese living in Macau and Hong Kong after the Sino-Japanese War, Aiko was prejudiced and even despised by Hueyin’s grandparents and neighbors. She speaks Japanese. She is more in favor of Japanese cuisine. She always reminds herself and Hueyin of the reputation and wealth of her family in Japan, which constitutes an explicit contrast to her floundering life in Hong Kong and Macau, trying to adapt to local lifestyle. When returning to Japan, she picks up her mother tongue, her Japanese name and all other Japanese ritual habits, thus reaffirming her identity as Japanese. She seems to be no longer the “otherness” but one of “the same” with similar social practices and collective acknowledgement of identity.

However, the authenticity of favorite food, the familiarity of language and the comfort of coming back home do not last for long. When Aiko deliberately shows off her well-educated daughter studying in London to her relatives in an attempt to create a “glorious return”, her relatives respond in indifference and ethno-centrality. The Japanese food she used to favor feels cold and tasteless. She even complains about the traditional hot baths for their impracticality and inconvenience. Those yeas living in Macau and Hong Kong unselfconsciously alter he cultural identity. “The years of acculturation in Hong Kong have changed her attitude towards the homeland” (Yue). For Aiko, the journey to Japan is supposed to be a resume of her original identity, but it turned out to be a reminder of her new cultural intimacy towards Hong Kong created by her life of displacement.

At the end of Song of the Exile, Hueyin’s grandfather, who is severely beaten by the Red Guards in Cultural Revolution claiming to topplebourgeoisie, mentions about sending the book of Song Poetry to Hueyin in case she forgets the profound traditional Chinese culture. His reference to this particular period of divine Song Dynasty infers “the national sentiments of modernity, exile and reunification” (Yue) in the horrific shadow of Cultural Revolution. The poverty, brutality, and disorder in Guangzhou smash Hueyin’s grandparents’ fantastic illusion on homeland when they are in Macau. The distance from home procures an ideal to restore the original identity. Yet Hueyin’s grandparents have already become the “otherness” when they return. Only marginalization and hostility towards the Kuomintang’s nationalism embrace them.

In Song of the Exile, the elements and implications of displacement and resettlement constantly affirm and reshape the characters’ recognition of their own ethnic and cultural identities. As for Hong Kong, 15 years has passed by since the handover, seemingly it still belongs elsewhere. In a time of globalization, borders and boundaries may be easily blurred out and they are no longer obstacles for commerce and communications. However, frequent communication does not directly lead to mutual understanding between Mainland and Hong Kong. Conflicts may also arise. The recognition and reconstruction of Chines identity are far more difficult than the reconciliation between mother and daughter in Song of the Exile. As for Hong Kong cinema,local contents (food, language, cultural heritage) in Song of the exile seem to be “a nationalistic response to globalization” (Teo). Nonetheless, maintaining and distilling local features in the pressure of globalization“would not have been and still is not easy” (Yue) in 21st century.

今天聊聊澳大利亚电影《僵尸来袭2：末日》。 片名Wyrmwood: Apocalypse (2022)。 尽管本片的片名是《Wyrmwood: Apocalypse》，但其实这是2014年电影《僵尸来袭》（Wyrmwood: Road of the Dead）的续集。中文译名直接是《僵尸来袭2：末日》，更加粗暴简单。 预告片见今天另一篇...  (展开)

《美人鱼》是老片子了，汤姆-汉克斯当年还是那样的年轻，不过塑造的角色也已经那么到位了。关于这部片子真的是一半喜一半忧。真挚的爱情确实是需要牺牲的，无论是麦迪逊（美人鱼）还是艾伦（汤姆）都是愿意随时为对方牺牲一切的。但是，结局是艾伦为了麦迪逊彻底放弃了陆地的生活，永远留在了海底。其实想想那是很寂寞的，幸而陆地上值得牵挂的只有一个弟弟和那个怪博士。有一点点剧情没处理好感觉怪怪的是整部片子只出现了一条美人鱼，美人鱼口中的家乡到底是什么样的呢，她又是如何会独自出现在那片海域，只是为了再见艾伦一面?还有为什么美人鱼说她只有七天的时间，片子好像一点点提示都没有呢。不过明明知道这是幻想的，但还是被感动的一塌糊涂，当艾伦和美人鱼第一次见面时（除了小时候那次）两人没有任何言语甚至没有任何多余的表情，就是那么直接的开始kiss了，但是又是那么理所当然因为他们的爱情早就在这两人之间滋生多年了，当然一触即发。虽然相处的时间还不到七天，但两人都已经十分确定向与对方相伴一生，那是多么纯粹真挚的爱情啊！就是那样自然而然的，让人都不忍心去想起现实生活中那些短暂易碎的婚姻。最后一刻，艾伦跳进了海里，其实从另一种角度看，也可以理解成他是殉情跳海，只是那样就失去了童话的美好，变成了类似梁祝的凄美爱情了。