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
还没有看原著总体来说这部剧对不同时间线剧情的穿插还是很棒的塔利是一个不幸的孩子因为早期的心理创伤她一直抗拒亲密关系觉得自己不值得被爱这让我看到了很多相似之处看到了她因为处理自己的伤口而伤害到对方的时候有时候幸福真的是近在咫尺XXXXXL19WASWAS MANTA只是看我们敢不敢抓住he feels like home这句话真的好迷人当然我觉得她们的友情更迷人好像她们生来就知道怎么与朋友相处来着结尾很有悬念期待下一不