国产日韩在线

70年代日本经济腾飞到80年代初泡沫开始，高利贷，腐败，急躁，社会种种不安定因素，但我们依然有那种对美好的追求和向往。这个发生在碧草青空的北海道的故事，感受到了东方人特有的内敛和温情

即使10年过去了，只听到电影里的音乐，就带我回到从前那段时光。这部影片陪伴我渡过大学岁月，怀念它。

这种电影好像能让人在银幕再次感受乡间田野质朴的风，雨夜呼啦的窗里有这橙色暖灯，看惯了城市的灯光与人群，这部电影仿佛填补起了心中已经不知空出多久的缺失。

尽管最后已有成烂尾楼的趋势 但泪流满面里 想不起还有什么更喜欢的纯粹爱情片了 （M一记 回家写）

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