可能不合时宜，但我全程想起《爱情大玩家》，都是一个大人意外地被迫带上一个小孩子游历城市.
甚至都在暂时的离别后于“汽车”中重逢. 爱丽丝以寻找为目的带着乡愁地拍摄了破损的战后欧洲，葛罗丽以逃亡为目的在惊悚的氛围中呈现了70年代的混沌美国. 片子的配乐非常密集，惊悚 紧张 无助的背后，永远流淌着一支伤感的曲调，如果放别的片子我肯定觉得腻歪，但配葛罗丽的脸，却是那么恰恰好. 啊，谁竟会不爱上她吗？！With accurate details, subtle shifts of emotion, aesthetic and atmospheric perfection, it is a deceptively simple portrayal of the ingenuousness of a young adult, firmly anchored in poetic realism. But more than that, it serves as an acerbic social commentary still resonating after half a century, dissecting the defeat of individuality by an impersonal culture designed to alienate and dehumanize us into apathetic cogs, while calling for "the courage it takes to live through the colorless, gray days" that take up the majority of our lives. #BJIFF @UME双井
New York sportswriter Mack who spent years devising successful hook-up "plays" with best friend Adam and crew, unexpectedly falls for one of the targets and learns what it takes to go from simply scoring to playing for keeps.
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