by: MuMu

之前看过一个报道，李玉讲她拍这部片子之前自己也不知道应该是个什么样子，于是拍得时候不喊停，放手交给演员去发挥。而范冰冰也曾说李玉是最懂她的导演可以让她挖掘出更多的自己，还有张艾嘉——对于女导演我总会有些不一样的期待，因为总觉得有些情绪是只有女性可以捕捉得到的，无论是指导别人还是自己表现。

张艾嘉果然不出所望，眉眼之间都是戏，南风对朋友的仗义侠气，生活感情上的无可奈何，让我想起美栅。网上有人说范冰冰演得太假，我不觉得，反而倒觉得是他们不能够懂得和理解吧。相比之下陈柏霖略显黯然了，那张脸依然摆脱不了蓝色大门的青涩小男孩儿，总觉得他跟范是在搞姐弟恋…

张艾嘉每日都坐在儿子失事的车中哭泣，在儿子忌日对着金晶大吼

＃“你要我安慰你么？那谁来安慰我呀？”＃ ＃“我怎么知道什么时候会发生什么事呢？”＃

寺庙里篝火旁，她眉头微皱神情凝重的发出这般禅意的质问，生命本是无常，总有些孤独只能自己去承受，并且孤独的又岂止是她自己？

失去所爱的人固然让人心伤但相比于没有失去却互不理解，不知道哪个更悲剧一些。比如丁波与父亲，比如他与南风，他帮她打架出头，卖掉自己的坐骑帮她还账，在她失落无助的时候说不要哭一切都会过去…他为她做很多事情，却和其他女人厮混，她心碎流泪却死不承认不说原因，因为他连伤心的资格都没有给她，铁轨上她问他

＃“为什么你跟别人都可以却不能和我？”＃

＃“一个男人要拥有很多东西以后才能拥有心爱的女人。可是我不知道很多到底是多少。”＃

＃“你就算一无所有也是可以拥有你想要的”＃

不管算是女人的天真还是男人的借口亦或是时机未到的真爱，这样的桥段却真真切切的在你我身边无时不刻的上演着。

＃“这么大的城市我们又算什么”＃

在繁杂错乱的时空中，我们又算什么，谁能与谁时空一致，谁又能完完全全地体会得了谁呢？

若能遇到一两个人偶尔的懂得与体谅，那就足够你我感恩戴德的了，孤独与变数乃生命的常态，经不起纠结，放宽心好好活着。

ps:啊！！我果然是没心没肺的乐观派！

AI-generated translation.

I read a report before saying that when Li Yu started making this film, she herself did not yet know what shape it ought to take, so during shooting she often would not call cut and simply let the actors keep going. Fan Bingbing also once said that Li Yu is the director who understands her best and can draw more out of her than anyone else. And then there is Sylvia Chang. I always expect something a little different from women directors, because I feel that some emotions can only really be caught by women, whether in directing others or expressing themselves.

Sylvia Chang truly did not disappoint. There is drama in every glance and every expression. Nanfeng’s loyalty and chivalry toward friends, and her helplessness in life and love, reminded me of Meizha. Some people online say Fan Bingbing acted too artificially. I do not think so at all. I think they simply cannot understand her. By comparison, Chen Bolin feels a bit dimmer. His face still carries the boyishness of Blue Gate Crossing, and I kept feeling like he and Fan were acting out some older-woman-younger-man romance…

Every day Sylvia Chang sits in the wrecked car where her son died and cries. On the anniversary of his death, she shouts at Jingjing:

#“You want me to comfort you? Then who is going to comfort me?”# #“How would I know when anything is going to happen?”#

By the bonfire at the temple, with her brows slightly knit and her expression grave, she asks these almost Zen-like questions. Life is impermanent by nature. Some loneliness can only be borne by oneself. And besides, how could she be the only lonely one?

Losing someone you love is of course heartbreaking. But compared with not losing them and still not understanding each other, I do not know which is more tragic. Ding Bo and his father, for example. Or him and Nanfeng. He fights for her, sells his motorcycle to help her pay off debt, tells her not to cry because everything will pass when she is lost and helpless… He does so much for her, yet still fools around with other women. She is heartbroken and in tears, yet refuses to admit anything or explain why, because he has not even given her the right to be hurt. On the railway tracks she asks him:

#“Why is it that you can be with other people, but not with me?”#

#“A man has to have many things before he can have the woman he loves. But I do not know how much ‘many’ really means.”#

#“Even if you had nothing, you could still have what you want.”#

Whether this counts as a woman’s innocence, a man’s excuse, or true love arriving before its time, scenes like this are genuinely being played out around you and me all the time.

#“In a city this big, what are we, really?”#

In this tangled and chaotic time and space, what are we really? Who can ever exist in perfect sync with another person? Who can ever completely understand someone else?

If we can meet one or two people who occasionally understand us and show us some grace, that is already enough to make us deeply grateful. Loneliness and uncertainty are the normal state of life. They are not worth endless knots of anguish. Better to loosen up and live well.

P.S. Ah!! I really am a carefree optimist after all!