Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep.Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ.But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality.Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle.The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked.The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood.And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

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这部影片讲述了华人金牌女律师陈智琪（张小斐饰）在女儿被绑架后，被迫为一位死刑犯做无罪辩护的故事。在搜寻线索的过程中，陈智琪不仅要面对死者家属的质疑，还要与警察金志雄（李鸿其饰）合作展开调查。这部影片紧凑刺激，情节曲折离奇，让人好奇又紧张。

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前天看了晚场的《红毯先生》，看完走出影院已是午夜点，不是我想熬夜，而是因为再不抓紧看，怕是都找不到排片了。全场总共就四个观众，对于春节档电影来说实在显得冷清，有两哥们中途还离场了，影片结束仅剩我一人看字幕的时候，两位即将下班的清洁阿姨在前排坐下轻声聊了起来……这一切，都与电影的主题和气质绝配。其实就《红毯先生》这个辛辣、讽刺、爱懂不懂的调性，放任何档期上映都会是差不多的结果，还不如在一年中最热闹的时候收点保底票房，再用总体上的冷遇来实现它戏内戏外逻辑上的闭环。影片

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电影以梦境和现实交织的方式，呈现了徐曼芳在面临死亡时的内心世界。她的内心既是现实的，也是虚幻的，这种虚实交织的表现手法极具震撼力。

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比起沙丘来说对话神神叨叨的少了，通俗化的弊端就是整体剧情线不太能细想。检录点想法空了写个长评。节奏比快了不少，几个主要人设还是比较有深度的，所以是极致的艺术享受，好歹故事有个阶段性结尾了。保罗在实在是因为一个青铜混在演技王者里太格格不入了，终于有契妮和保罗的表演层次是一个段位的了，大部分时间都是他们两或者保罗和普通npc的对手戏，就显得菜得没有这么突出了。契妮的人设我还挺喜欢清醒的，有些与众不同，思想境界高出原住民太多了，很难想象这种环境契妮能有人民史观的觉悟。权