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The question of whether or not the film or its characters are actually good Marxists is not only not interesting, but also misguided, since we’re bound to get nowhere with such relationships of subordination: it is the coordination that we must look at instead. Godard doesn’t film “Marxists” or things whose meaning would be Marxism. He makes cinema with Marxism [...] The strength of the film is that it brings together cinema and Marxism by treating those two formulas as two different conceptions of art in general, and hence also of Marxist cinema. -- Jacques Rancière

被人騙了,好像沒那麽好

問別人愛情的本質，長輩說是付出和陪伴，伴侶提到信任和依靠。有些詞渺遠，但如今我也有了更深的體悟。

三星半。故事講得紮實，就是案子枝枝蔓蔓太多填得太滿，看得喘不過氣。壓抑氣氛一直持續到最後冷冰冰的結局，蒂姆羅賓斯太憋屈太可憐了…是有宿命感的大悲劇，但沒有說服也沒有打動到我。

這部簡直非常戈達爾 毛毛毛太洗腦了 疙瘩一定是最熟讀毛主席語錄的法國人2333