懷疑主創是大肆吸取了羅伊安德森和雅克塔蒂的策略,用大量平整和單調攝像機運動配合全搭建和幾乎全室內的調度,丁·度巴斯《偷香》呈現一種動態畫(moving tableaux),或者按我的說法,dioramic screens。更進一步的隱喻可能是,室內空間(或者說Anglophone Capitalist Male Dominant室內空間)不僅顯而易見地切割了人的情-動,還捏造了一具新的身體(environment as your corporate body)——然而你的身體實為一具,丁·度巴斯《偷香》是在兩個世界中將一指認為二。making space for a new body, making body for a new space
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輕松感人.If he prayed for courage, does God give him courage, or does he give him opportunities to be courageous?
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