Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.
These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.
Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.
Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.
Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.
The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.
Our camera has captured for you a few aspects of a provisional microsociety.
The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.
This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.
The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...
Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."�
Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.
Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.
On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.
Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.
Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.
Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.
Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.
The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.
What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.
Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.
Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.
Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.
Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.
Voice 2: Years, like a single instant prolonged to this point, come to an end.
Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.
Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?
Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.
Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.
Voice 1: Really hard to drink more.
Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.
Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.
Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.
The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.
To really describe this era it would no doubt be necessary to show many other things. But what would be the point?
Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.
1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
好莱坞还在选角阶段的活人立生祠传记片们可以参考本片，还是让大明星们自己演自己吧。巨星向粉丝电影也要肥水不流外人田。老套失意中年男人切入，但是想出来一喊action就有超能力简直是天才啊！
是演员版的【头号玩家】，或者凯奇的演员新生，也可能是告别了某个电影的黄金时代的嬉闹致敬。但不管怎么定义这个结构复杂、彩蛋颇多的电影，都挺浮浅和综艺化的。很多情节展开无非是要做反转和效果。这仍然不是凯奇重启事业的作品，这更像是他放弃事业心，拍点调侃自己的作品。另外，凯奇完全没有佩德罗·帕斯卡出彩。
烂片王自嘲，我演我自己，海报大抵用的《妈的多重宇宙》同一家
“史上最好的三部电影：《变脸》《卡尔加里博士的小屋》《帕丁顿熊2》。”哈哈哈哈哈。小尼出场的时候总让我想到《坏中尉》里凯奇的灵魂街舞。 看的时候意识到自己看过那么多凯奇的片子，有些恍惚。
打破了荧幕界线，算是不错的尝试，但剧情无论是深度还是趣味性都略显不足。
高开低走，前面还挺有趣，后面越来越编不下去。而且这片的剪辑真不行。但是凯奇玩得开心就好。
剧本的设计点是有趣的，但剧情走向还是老套，虽是尼古拉斯凯奇的角色与现实互文，但更多是沉浸在电影里戏中戏的表演和各种对以往自己电影的彩蛋和吐槽，凯奇的演技其实一直在线，不过我更喜欢佩德罗帕斯卡的表演，有些对话和镜头其实也蛮有意思，以及故事中心突出“过气”演员的一丝心酸和自嘲，也带点韵味，凯奇哥，后面你要支愣起来啊！
马上把观看《帕丁顿熊2》提上日程！！！这部电影最好看之处就在前面五分钟。
不得不说还行啊，黑色幽默不说，还让我对帕丁顿熊感兴趣了。
7/10。看的上一部凯奇作品正好是《我心狂野》，落魄演员凯奇和当年的巨星凯奇对话，无比怀念却依然要故作诙谐给粉丝和观众强调that's my job，果然喜剧的内核都是悲剧。
A great comeback of a great actor by his nouveau shamanic instinct.
又名我对好莱坞又爱又恨，一方面要做角色驱动，给成人看的电影布拉布拉，结果完了发现还是标准的好莱坞式电影，这才是本片最大的笑点。。。
凯奇炫技之作，剧情、制作都很水的网剧既视感。
尽管凯奇在片中吐槽好莱坞式俗套，但本片的主线就相当俗套。
Nic whooo fking cage ！
当尼古拉斯凯奇扮演自己的时候，他不再是那个刀枪不入的英雄，而是一个过期的老演员！
想法不错 算是美国版的自成一体的自己致敬自己了 凯奇叔也算是临老高光了一把 虽然选的电影都有点cherry-pick 但想法算是不错的了
有些地方很捧腹，迷影梗娱乐效果很棒，但剧情还是很单薄
“有时候生活会阻拦你的爱情。”
“他又回来了”，“他又没过气过”，“确实”
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