電影似乎是空間記憶的延伸。拍攝地水色驛和當(dāng)時(shí)所在的媒體村僅間隔一個(gè)地下隧道，隧道連起的兩個(gè)世界，關(guān)于它的場(chǎng)景、人情與文化的記憶與氣息構(gòu)成了春夢(mèng)的曖昧氛圍。長(zhǎng)鏡頭下酒醉后的舞蹈，也是處于環(huán)境之中的下意識(shí)處理。脫北者、小混混，邊緣游民，“愿我們有一天生活在同一民族的國(guó)家”，大概都有私人記憶的映照。三個(gè)角色對(duì)應(yīng)三個(gè)導(dǎo)演之前的電影，似乎在夢(mèng)與現(xiàn)實(shí)的空間之上又打開(kāi)一層電影之間的通道。最妙的是藝璃說(shuō)，太安靜了來(lái)點(diǎn)音樂(lè)吧，a quiet dream is about to wake up.
然然然然然然:182.85.152.9
Your typical nice looking, "heart warming" A24 flick...unrealistically precocious kid paired with confused middle-aged man and through turbulence and conflicts they gradually learn from each other and cherish the experience forever --- I have seen this one many times before. The "it's okay to yell, and then yelling out loud" scene in particular is soooo much of a cliche. Cinematography is alright but not really impressive, watching this back to back with Red Rocket the difference is so obvious (ok B&W is at disadvantage but still).The interview bits aren't integrated organically into the story, and it feels like the feel-good, "heartfelt" material got mixed in just for audience appeal.
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