Based on the internationally best-selling novel by Jonas Jonasson, the unlikely story of a 100-year-old man who decides it's not too late to start over. For most people it would be the adventure of a lifetime, but Allan Karlsson's unexpected journey is not his first. For a century he's made the world uncertain, and now he is on the loose again.
毫無設計感,小孩子從頭討厭到尾,黑白畫面只是狡猾的算計。
我现在长得这么大了,其实我已经不了解小时候的自己了。
@Telluride Fucking brilliant. 怎么会这么好,Mike Mills牛逼
很温柔的电影,感觉上很像《我们这一天》,就是,看的时候哭的很凶,但是看完后又觉得,现实生活永远不会有如此的爱和接纳,此类型的影视作品,只是我们对爱和包容最终样貌的想象,一种理想中的平衡状态,就是人类都会犯错,但是人人都拥有反思的能力,以及可以及时放弃自我的傲慢和自我的保护,用持久的耐心和有效沟通,最终可以大团圆的想象
A24好感度⬆️⬆️
杰昆真的是有一种别样的魔力和演技,每一个电影角色都能独立成章又能在另一部电影里遥相呼应:前一秒我还感觉他会突然一个镜头切换成癫狂的小丑,下一秒看着他拿着麦克风自言自语又幻化成那个爱上AI的独居男人
想到了文德斯的Lisbon story还有贾木许的帕特森
3.尊重孩子,不去灌输“标准答案”才能培养出独立人格。
今日在吉隆坡看完首映,开心,绿川光的声音出来我就圆满了,多了就不剧透了,期待M26
你们口口声声说毛利兰很幸福,有一个很棒的男朋友,但你们有没有想过毛利兰可以为工藤一直等待
Joaquin也开始性感了啊,男人老了真好。
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.
大概是最近的十部里最好看的了(但也可能是我太爱松田的关系)
据说明年剧场版主角是哀酱和老琴,柯哀党狂喜樱井挺喜欢写酒厂线嘛
很久没看过这样优雅的镜头 仿佛梦回去年moma看的das perfekte Schwarz
真的不错!小五郎的麻醉梗好像不是每个人都get到了 要素齐全剧情连贯
虽然还是超英版但这次故事好好哭呜呜呜呜 同期五人组太帅了叭 人物塑造好绝太牛了
现实许多地点或情形见不到这种洞悉人性的小孩儿。
“我们忘记了出生的一切。”“不,你忘了,我没忘。”
此刻,很难用准确的语言形容今年看的最后一部电影,大概想说的,就是画面的最后几帧吧。
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