爱情我你他

疼痛会像藤蔓一样，慢慢攀爬，缠绕。

悄无声息，有时也会用尽力气，在每一个白天黑夜里。

我们会感知它的存在，就像一切发生在周围理所当然的事一样，却又找不出根源。

于是会想，或许是与生俱来的。

当Miranda在自己的作品结尾录下那些话，摇头晃脑神经质的发疯时，当那个女人在空旷的屋子里默默看完视频，并最终打去电话时，这并不是自怜自艾，也不是猩猩相惜，只是每个人都走在这条路上，每个人都在沉默中找寻着出路。

fuck you,fuck me,fuck old people,fuck children,fuck peace..是呀，为什么事情总是变得鬼使神差，无法控制。

人总会变得曲折难懂，不易靠近。

我想了一百种可能，想到以为就要成真，可每次出现的都是第一百零一种。

我为你凿开我冰封许久的保护层，让小心翼翼维护的自尊一丝不挂，我愿用一生与你，来换取一个电话，为何你却还要疏离。

我不禁自问，我的骨气哪去了，我原来那么鄙视不堪，而现在莫非我不是如此？

我伤害着我自己，如此的决绝，以为真的会有浴火重生，但时间仍是一分一秒的过，不带有一丝怜悯。

鸟儿应该在树上，脚应该在鞋里，太阳会每天按时升起，正如要忍受疼痛，是在所难免。

人生就像排队，每个人都向着一个方向，追着前面人的屁股拼命地赶，好像停停就会落下什么，但其实每个人心里都没底。

而如若你转个身，迎接你的会是大堆的丰富的表情，微笑，伤感，兴奋。。

只是走了那么久，有谁会甘心将自己踩扁揉碎从新审视呢？

sitting here thinking about yesterday,how we shared a laugh and played,how we celebrated all my good news,just me and you.

仍然是那個習慣問題，不太願意選美國電影來看。

因為當我一聽到美式英語的腔調，我就會想起那些美國肥皂劇，有的只是充滿一些似是幽默場景的喜劇元素。

所以在另外一部日本電影滿座的情況下，入場看此部電影也只能是我無奈之下的選擇。

　與我預想中的一樣，香港文化中心能容納數百人的放映廳在影片播放時間裏一直間斷地充斥著此起彼落響亮的笑聲。

影片裏無處不反映著都市人的孤獨感和都市人對現實社會的抵抗情緒。

一開始那幕就讓我覺得這可能不是一部平平無奇的美國電影。

突遭離婚惡訊的Richard為了挽回兒子們對父親的信任，竟然在兒子們面前將自己的左手燃燒起來。

影片中Richard中的一句話給我很好的啟示：人生應該充滿驚喜，每天如斯規律地過日晨還能有什麼意義呢？

而戲中的女主角Grace，是令我欣喜若狂的女子。

她的職業是Elder Driver，即是專門為老人家開車的職業。

她喜歡在家中用DV拍下自己古靈精怪的片子。

Grace喜歡主動出擊去接近自己喜歡的Richard，也會主動出擊將自己平時在家中拍攝下來的表演藝術送去她欣賞的藝術家July家中。

Grace喜歡幻想。

印象深刻的場景是Grace與Richard打的比喻：腳下的街道是兩人生命，現已走了一半，前面就見盡頭。

其實就間接地表示了，Grace願意與Richard過完這一生。

其實影片中的所有人就如電影戲名一樣，每個人都有相應的聯繫。

職業為Elder Driver的Grace與售鞋服務員的Richard之間產生了愛情。

Grace給表演藝術家的July公開展覽提供素材。

Richard家中的七歲小男孩通過色情網站認識表演藝術家的July，而同時July也從這位七歲小孩寫的東西產生靈感，繼而用於公開展覽上。

Richard家中另一名十四歲的小男孩則做了鄰居兩女孩的性愛實驗品。

基本上電影中能出現的人物都與某些人發生些或多或少的關係。

這些關係網的產生完全是因為當代社會存在的疏離感。

　我們越來越對我們身處的這個社會產生不信任感，因為我們需要的關心難以在這樣的商品社會裏得到。

又因為商品社會的不斷地高速發展，我們逐漸產生疏離。

我們害怕與人接觸，擔心著別人對自己的愛，而這些愛是一直我們沒法在現今社會裏得到的，所以當我們遇到時，我們只有向後退縮，不敢向前接收關愛。

電影中最後的場景傳達著這種當我們遇到（別人送出的愛）時而我們應該大膽無須害怕地去接收的資訊。

就如當表演藝術家的July與通過色情網站認識的七歲小男孩出來見面時，最後還是給了這位小孩善意的一吻。

包括最後Richard接受著Grace從後擁抱的場景也是傳達這一資訊的最好一幕。

Barish 告诉我,他很危险,他是bomb.他把老师给打了.他给我推荐了这部片. 其实大家都一是一样的,希望拥有爱.是不伪装.是用心在体会的爱.可是有时候不能体会到,是因为或者大家mental space确实是离的太远了,或者是过分保护自己,或者已经不愿意费力气去用心了.每一个都在counting time.等待着爱.即使在漠然的表情下,内心还是火热的.而爱在网络飞快的时代,又是那么的无力.feeling在typing下也变的脆弱和虚无.这里或许谈的已不是love,而是pure的生活状态.一个可以交流的状态.dodo

老人说：我会和艾伦在一起，我爱她。

我只是希望五十年以后我还能见到她，然后那样，我就还需要70年的生命为了艾伦那样的女人准备。

后来，艾伦和老人说分手。

她说她快死了。

老人说。

她说的总是对的。

老人说，所有的一切消失了，人群，城市，就剩下我们一直在一起。

他们在公路上行驶。

注视着那个被一个父亲遗忘在车顶上的水袋里的金鱼。

减速和停止，惯性会让袋子摔在地上。

老人说，对它说些什么。

她说，“这是你最后的时间了是吗。

我想你知道，你是被爱的。

我爱你。

”金鱼在水里逡巡，金色的鳞片闪亮着，沉默着什么都不回答。

然后，袋子滑落。

那孩子，他们，我，都哭了。

她说蒂龙街的西面是终点，那是她的停车点。

他说我的车停在蒂龙街的东面。

她说我们还有一条街的路程，他说冰地街是中点。

她说，那是联结点，让我们知道会有分开的一点。

他说，我们还在好的这段路上，不会相互讨厌。

她说，我根本不会讨厌你。

她指着冰地街的路牌，过去的六个月我们一直很好。

他说是过去的二十年，她说也许剩下的是到人生终点的路程。

然后他们就在阳光里走完整条街，在蒂龙街的路口说再见。

她说她的脚踝太低了。

鞋子总会磨痛脚的。

他说我们以为痛苦是生命的事实。

但是生命的事实比那个更好。

晚上的时候她轻轻地穿上。

两只鞋，柔软漂亮的舞鞋，她在一只上写着“ME”一只“YOU”。

逃避、追逐、靠近、躲闪。

终于在一起。

温暖的，柔软的，轻轻抚摸着观者的眼睛、唇角、胃、手臂、和灵魂。

就是这样一部电影。

Rarely have I come across films have electronic music as the backbone for their acoustical component. So when I watched Miranda July 's Me and You and Everyone We Know, it was for me some kind of pleasant surprise. You may remind me some other films feature quite a lot of cool music, but I think there are not much equivalent to the tranquility effect the music created here. Too often people employed electronic music in their films the ones they chose are quite up-beat or I will just simly put it as the "cool" category. Though I should admit perhaps this kind of romantic comedy seldom triggers my viewing impulse and that makes me fuss here.Me and You... can not be appreciated if you are looking for some big stories or abstract allusion or fancy jump cut or whatever characteristics would increase a certain kind of people's adrenal secretion. It has no grandiose thesis or ambition, but the aspiration to explore the ambiguous distance between me and you and everyone we know, if to say, everybody is an island.Its moments of cuteness might remind the audience films like Amelie, but Amelie's extraordinary imagination is replaced by a sense of reality, which creates an intimate distance to the audience. Btw, I could not care less Yann Tiersen's music.The first set seized me is when July was driving her cab with her customer, they found that a goldfish ( in a water bag) had been forgotten leaving on the top of its owner's van and they tried to save the goldfish's life. Theoretically speaking, the only way to save the fish is keeping the vehicle a steady speed. But it come out they could not make it despite the effort. Why this scene caught me, with such a seemingly hypersensitive cutesy tone? Because I know July! The woman show a terrible lost look when their effort was in vain. Not much girls act in such an eccentric way, which you could examine again and again throughout the movie, and they are my friends.To apply Michael Andrews's music is quite a smart move. The first artist got in my mind is Michel Redolfi, who is addicted to making "underwater music". And at the very beginning, the actor burnt his hand intensionally (and mistakenly), the world was mute and the music got start, which appears to me just as something happens underwater or, otherworldly. Andrew's music has an ambiguous atmosphere, which in line with that of BOC or my recently listening Freescha, is something you could call isolating and bleak and attracting and warm all in the same time. They are in one, so are the interpersonal relationships the film tries to present.

谁能告诉我里面的配乐是谁的？？

很喜欢女主角的衣服和声音记得当中她把录影带寄给艺术馆那女娃的时候最后录的那段话真是搞笑哇但是又有点小心酸小泄气小愤慨小爽楼上的说的没错这是一部自己去看去体会的电影同学们去看了再说吧gogogogogogops 结尾很美最近爱上逆光的摄影 美！！！！！！！！！

The beauty of this film is formed by its sentimental conversations and the idiosyncrasies in its characters. Through each scene, we can feel a lot attention the writer paid to life and humanity. After I watched this film, I realized the most touching things are actually happening in life itself, rather then hero stories, the matter is have you ever paid attention to life? Have you ever tried to record the subtle things into your brain? It gives me a idea to make films out off my personal poetic memory. If I want the audience to be touched by your story, first of all, I have to be touched by the story. And then think about in which way, I can address the audience’s attention to the situation where I’ve been touched. It has to be down this way, if I don’t even know how it does feels like to be in the characters situation, how could I make a good film to describe the story in a believable way? What is really important to a filmmaker? Sensation of life I would say, techniques stills changed quickly following the time, but the spirits of film has never changed, that is the story of life.There's one scene in this film that I felt is unforgiveable, When Richard and Christine first time walked down the street, outside the department store, after Richard finished his work, they took the street they were walking on as a metaphor of a romantic relationship. The conversation between them was very sentimental, through which they sounded out each other’s expectation of love and built up further impression of each other.Themes that make a fresh characterHope/Dream/Goal1. Making the audience sympathize with the characters;2. Actualizing the characteristics of each character;3. Motivating story progresses.Every character has her/his dream in this film. Christine wants to build up a relationship with Richard, and she also wants her video art to be exhibited in the local museum. Richard wants to have a closer relationship with his children, and have a complete family life. The girl next door wants to build up a warm family in the future, so she kept all her household applications in a hope chest. The lady in charge of the museum wants to find a lover through internet. Two “lesbian sisters” want to discover sexuality.Different linguistic expressionAnother spot light in this film is clever and original dialogues, which makes the film so fresh and delightful. It also develops the characteristics of each character.“You think you deserve that pain, but you don’t.”“I want to poop back and force. ” ))<>((“I’ll poop in your butt hole and then you will poop it back into my butt hole and we will keep doing it back and forth with the same poop, forever.”“Iceland is kinda like that point in a relationship you know, where you suddenly realized that it’s not gonna last forever, you can see the ending side” “yea, but we are not even there yet. We are still at the good part. We are not sick of each other yet. ”These wonderful dialogues are impossible to be written in a short time. They are sometimes collected from life experiences, sometimes inspired by life experience. Accumulation is very important for an artist, especially for people wants to write scripts.

集合编导演一体的处女作精品，尤其是云淡风轻无厘头的女导演，我喜欢。

适度的诡异，温和的奇怪，各自疏离的存在，莫名其妙的等待，稀里糊涂的爱欲，距离，误解，厌恶，好运，一切就这么轻轻的来去。

俺们家小刚说这是一部和天使爱美丽差不多的电影，看后不禁失望。

归根到底，小刚是活在现实世界的人，天天抱怨自己没钱没钱，却骑着宝马大摩托。

他的忧郁悲观，也来源于现实世界。

他很实际，有点木讷，对人彬彬有礼，很绅士，绅士到我俩睡一张床一个多星期，什么都没发生。

他真应该去做科学家，很费解他怎么会搞音乐，他有十把吉他。

可我还是喜欢他，并由衷地感谢他，感谢他记得我说的每一句话，我的每个想法他都会帮我落实，在漆黑的楼道里会率先跑过去开灯，每天都一脸严肃地对我说你应该做什么什么，不应该怎样怎样。

照顾得到一切细节，骑摩托时也不忘叫他朋友帮我带副手套。

还很执拗，当我偷看他袋子里有什么的时候他一赌气把袋子拿走了。

这样的人，虽然不能和我一起在精神的海洋中驰骋，却能在现实世界中保驾护航。

可我，毕竟不是这个世界的人，和他在一起我就像个弱智，每天都迷迷糊糊的，人就是有这个劣根性，当遇到一个靠谱的人自己就变得不靠谱了，偷懒嘛。

我决不悲观，每天跟个热气球似的飘啊飘，花花绿绿地生活。

我觉得生活的意义在于超越，而决不在于在为了生活而生活。

当然我也要在现实世界中扎根，吸取养分。

我更欣赏天使爱美丽里面那亮丽的色调，童话世界一般，而不是这个电影里的在晦暗中咀嚼。

我知道我所想只是自己的一厢情愿，一切又都是空中楼阁，一切都无从谈起。

当我面对生活中一堆大事小事麻烦事时，会不会也束手无策？

现实生活的大门向我打开吧，看看我到底是超越平凡化作天边的彩虹还是被撕成一地的碎屑！

miranda jully 一个奇女子整部电影都是她的味道 她喜欢的颜色 她喜欢的音乐 包裹着她写的故事给我感触最深的是这里面每个人的眼睛常常眨也不眨的就这样盯着你 纵有无数的话想说 最后就化为这么一个眼神坦然 赤裸 只是开始的时候那里面缺少了爱 只是空洞直至最后 里面饱满了美好不论是她 还是他 还是他们 或她们谁不是这样呢？

别人的故事再发生的时候 我们的也是一样的就算进程不同 大家都在变化朝向更好的方向看了两遍应该还会更多 只因为每次都会有不同的感动初次惊奇情节的精奇再次则感受到了台词的美蕴然后我想 她再说一个爱的故事一个爱我 爱你 爱每个人的故事一个大爱的故事教会我们如何去爱的故事。