菲利普的生活

大钊我不知道花一个多小时看一个自恋急性子的作家生活有任何意义，解说旁白不让我们和那个男人共情，但摄影又在推着我们与他共情，就显得很别扭，很多时候他不是错在了理想主义和艺术家的清高，而仅仅是他的性格，和他作家的身份没一点关系Michel_le的确是在讲故事，但太不能接受这种依赖于画外旁边的方式记叙，直接直白的方式让整体来说比较平，从艾克和菲利普这两个相同类型的人出发，延展到他们周边人的生活，极度自大的阴暗面和自我孤独毁灭，没有共情与理解，很反感这种自恋折射入网如此内倾，对人刻薄，只为被视为天才作者，骄傲自负才是一切的主谋，成为生活的观察者只是无奈。松野空松这个旁白很蠢，特别是一开始男主以创作者的身份去喋喋不休时，让人不禁想，我为何不去看一部伍迪艾伦呢？好在后续的发展脱离了男主中心，才开始有了自己的特色，但旁白还是臃肿神盾局仔龙从无意义中追寻意义，文学艺术永恒的孤独命题，如果代价是伤害的话，还是让自己享受孤独叭。#FIFF26#DAY3的场刊将于稍后释出，请大家拭目以待了。

Overall, this film is quite typical (aka cliché) when you put it against the scope/genre/category of what we call"independent film". Perhaps the trope"frustrated writers of New York" is becoming cliché because nothing new can be extracted from their lives or struggles anymore. Personally, I am quite fed up with depictions of despair-ridden, egoistic, immature, irritating men that are somewhat talented but, at the same time, unbearable and disastrous; they do not grow or change, nor do they know a thing of love or even attempt to value anyone as an individual (not even themselves, god damn it). Partly because there are too many of those both in real life and in films; partly because I used to date one and it traumatises me to this day. It oversaturated me to a point that I no longer care about how they feel or think, and I ask the question"How in the hell do people put up with them for more than 4 months, and LIVING TOGETHER too!"But, that being said, there are certain clichés in this film that I *liked*. The (orange-tinted; sunset-like) colour and (grainy) texture of this film is quite beautiful (guess I'm a sucker for the"nostalgic" mood); the use of a handheld camera was nice too. And I really loved the monologues: full of pretentious, obscure words that only writers can come up with as they live their life; it reminded me of Tirez Sur Le Pianiste.Needless to say, the female cast is absolutely delightful: Elisabeth Moss and Krysten Ritter in one film! Who could have thought? xHere is a screenshot just for fun: