How Ghost World or Frances Ha were much simpler times. 我覺得劇作上一個取巧的地方是如果觀眾碰巧不喜歡女主的視角(尤其前半段如果上面提的兩部從前的romcom/coming of age還依舊愿意探索human connection這一議題到了這個世代everything is just about me, me and me名為出軌的那一章簡直cringey難熬哪怕也許是故意為之)仍然有可能被后半段Aksel病后的痛陳所打動即使這動人亦沒持續(xù)多久行將死去之人們帶走了他們的時代舊秩序在崩塌但取而代之的世界極度的原子化與數(shù)字化什么都不牢什么都不再確定涉及女權(quán)與氣候活動家的部分同理是這般搖擺曖昧的(嘲諷者見嘲諷etc)在車里滑進了岳的身體甚至連voiceover不厭其煩地重復(fù)場景中人物的對話也可能造成觀眾對其在另一些場景里敘述可靠性的懷疑它們這聽上去像是從小說或劇本里讀出來
Wes Anderson gets bolder with visual expressions. It’s a personal letter to all the things Anderson loves, such as cuisine, French youth culture in the 60s, and traditional print media. Even the tiniest details are infused with nostalgia. It reminds me of Quentin Tarantino somehow but came out with his unique style.