導(dǎo)演的敘事非常粗獷凌亂，各種劇情神展開。整個故事和最后的動機(jī)挖掘也很隨意，反轉(zhuǎn)和高潮拍得敷衍乏力，制作水準(zhǔn)與表演也略粗糙…講真看到開頭小Joyce面對倒在血泊里赤身裸體的媽媽竟然面不改色波瀾不驚轉(zhuǎn)身寫作業(yè)，以及第一個殉情案件里的女死者不停起伏的腹部時就已經(jīng)看不太下去了……

這片需要比較好的心理承受能力

伊納里圖已經(jīng)在標(biāo)題上給了提示“虛假的時間線和一個真實(shí)的故事”，現(xiàn)實(shí)與夢境或者潛意識完全交融在了一起，時間串聯(lián)的是敘事，卻不是真實(shí)。整部電影是一個的一連串心靈劇場，劇場和劇場之間是迥然不同，但二者之間的銜接卻又如此的順理成章。伊納里圖然幾百個觀眾在三個小時的時間里，做了一個共同的夢。

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

在影院看的時候觀眾里出現(xiàn)了一位神級捧場王，從頭狂笑到結(jié)尾，真的是狂笑笑笑，我都分不清是在笑呢還是在哭呢，笑不出來的我也試著硬笑了幾下?( 'ω' )?