颠倒人生

1964年的后现代人类样本，英俊，有能力，看上去一切都恰如其分的男人，总是带着得体冷漠的微笑，厌倦了周遭恰如其分的一切，他对生活丧失了热情，这种丧失毫无缘由。他只喜欢独处，然而他又要结婚，**的妻子很漂亮，即使面对最亲近的人，他也是抽离的态度。他让树活过来，让人消失掉，他用尽办法出逃，成功地消除了他觉得多余的东西，上个世纪某个时期盛产这样的人。奇怪的是这部充满内心独白的片子并不乏味。

*看无字幕，看过留脚印。*看有稳定工作的新浪潮男女，*看《沉睡的人》被《物》化

反向四叠半神话大系，the delving into selfhood, the searching of subject, the fight in the thicket of objects, yet, failed; the apartment - referring to the identity (real-estate), the history (roughcast), the spacial construction and deconstruction (marriage and departure) / subjectivity (did Jacques attain his personality or was he castrated from sociality?

Particularly interesting in terms of eating scenes. Compared to other New Wave films, eating here really constructs the plot and becomes a central metaphor of the mental status and self-identification of Jacques, as well as his relationship with his surroundings (the society). The theme is clarified by the voiceover of monologue.

剧情简介的气质与本片一致。痴迷于自我世界的漫游。存在主义命题。

四星半。从没听说过的导演阿兰·杰胥亚的作者电影。新浪潮的故事，布列松的形式（幸好没像他那么禁欲），镜头简练，用旁边独白表现人物心理，描述走向封闭的过程。导演有自己的空间感，随意间展示了多样建筑类型