剧情介绍
暂无
Forty-six year old Diane Després - "Die" - has been widowed for three years. Considered white trash by many, Die does whatever she needs, including strutting her body in front of male employers who will look, to make an honest living. That bread-winning ability is affected when she makes the decision to remove her only offspring, fifteen year old Steve Després, from her previously imposed institutionalization, one step below juvenile detention. She institutionalized him shortly following her husband's death due to Steve's attention deficit hyperactivity disorder (ADHD) and his violent outbursts. He was just kicked out of the latest in a long line of facilities for setting fire to the cafeteria, in turn injuring another boy. She made this decision to deinstitutionalize him as she didn't like the alternative, sending him into more restrictive juvenile detention from which he would probably never be rehabilitated. However, with this deinstitutionalization, she has to take care of him which means only being able to do home based work. Despite they always yelling expletives at each other and Steve sometimes demonstrating those violent tendencies toward her, Die and Steve truly do love each other, his emotions which are sometimes manifested as an Oedipus complex especially as he seems to need her complete attention most specifically when it is being directed at possible male suitors. Their lives, both individually and as a family, are affected with the entrance of two of their neighbors. The first is Paul, a lawyer, who does have that sexual interest in Die as he tries to help Steve through his legal problems. The second and more important is Kyla, who lives across the street with her husband Patrick and their adolescent daughter, they who are in transit in their life to wherever Patrick's job will take them. Kyla is a high school teacher on sabbatical as she deals with her own emotional issues, which are manifested in stuttering whenever she feels incapable of dealing with her life. Kyla may find that she needs the Després as much as they need her.
影像风格抓人，多为人物特写，演员演技过硬，情感动人
多兰的风格：园子温加中岛哲也年轻时期拍广告片，喝醉酒在走廊里梦游，再加上一层曼哈顿高中生都喜欢的流行乐，不说//亢奋版嗑药至少是//吸血鬼日记版舞会的眩晕程度了。他第一部其实就是重口的ppt啊？低成本硬死不承认装阔气的广告片。我不是不想看懂，我是真的有点被闹晕了，想要捕捉剧情就好比让我在蹦迪现场算解析几何一样，真的头大啊。第二部，这英文流行歌的含量太太太无语了，还是只能当我码字的背景乐。配乐不等于歌曲，还是太年轻，太把自己当回事了。其实这就是闷文青的视听化，骨子里还是太自大。#电影妈咪#
看不下去，BGM和歇斯底里争吵的密度过高，部分拍的像千禧年MV，以至于叙事是断裂的。情感抓到了，纠结的互相拯救又伤害的母子关系，如同舔舐刀尖上的草莓酱，甜蜜又伴随着必然的危险。酒后三人乱舞的部分拍得好。
太喜欢妈咪梦到未来的那段。
越看越不错
母子之间的互相救赎，谁先放手谁就输了！每次当事情往好的方向发展时，画幅就会变得宽阔！
“We still love each other, right?“ “That’s what we best at, buddy!”依旧是多兰美学里对峙仍坚固的母子关系，绚烂浓烈的色彩渲染与饱满充沛的情感迸发，Steve在马路中央踩着滑板随着Wonderwall的旋律把1:1的画幅挣开那段感觉满屏都充盈着生命力，结尾少年的奔跑在Born To Die中戛然而止简直太惊艳了呜呜！
五星嫌少。
法国文化中心观影。当画幅融入叙事，画幅在1:1时真的压迫到我难受。
喜怒无常 挤眉弄眼的人生
近期看的最喜欢的一部电影 从剧情到拍摄手法。和镜头运用上 确实能感受到多兰对王家卫的崇拜 但是这部作品和王家卫的风格不同 从家庭主题出发 再加上三位主人公的性格 和这种拍摄方式非常协调 看的时候很容易被带入他们的情绪中 因为剧情从某种程度上来说很荒诞也很预料不到结局 所以有一种一开始就不想停下来的感觉 这部电影讲的不只是家庭和母爱这么简单 我觉得还有一种最后Diane说的hope 她虽然似乎处在绝境中了 但还是愿意相信自己的生活还有希望
2022，标记第776部
好有生命力的作品 情绪生猛 撕开银幕神来之笔 就多兰音乐品味堪忧 倒也契合中二
多兰这部的感情真是丰满到不行。母与子这个话题真是长谈不言。every boy is a mommy’s boy. 配乐一度让我满头问号。妈妈想象未来美好生活那段真是又俗又感人。拉满屏幕也好有戏剧感。everyone have their own ways of dealing things, and I am always hopeful. 这也太坚强。
和多兰的处女座《我杀了我妈妈》比起来 感觉逊色很多 两部电影连着看 最后发现以为的悲剧没有悲剧收场 以为的喜剧没有喜剧收场 真就世事难料 这部后劲儿有点大 看完路边缓了缓才平静下来