黑暗场景黑乎乎的一坨，啥也看不清，看了个寂寞

就突然看到了热度，为了可以一直续订弄得越来越戏剧化，男主变得越来越讨厌。

这几年的动画大幅缩水，剧情什么的一塌糊涂

来了，他们来了，法兰西今日喜剧电影的良心三人组塔雷克·布达里、菲利普·拉肖和朱利安·阿鲁蒂又来了，可是这次翻拍的我看不是电影，而是本山耀司的小品“心病”，怂货警探的生命最后三十天，可以从头笑到尾，但是过多法语双关梗的使用，再加上一年一部的产量，我感觉他们的戏剧细菌有点儿没墨了，期待2021年，他们能带来什么

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