by 布奇
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March 22, 2025
<p>1987版《倩女幽魂》最近重映。这期节目说说聂小倩这个人物角色。同时从这个角色说开去，聊聊演员和角色气质的契合。</p><p>本期节目会聊到但不仅限于以下内容：</p><p>1. 一个关于1987版《倩女幽魂》的传闻。</p><p>2. 借着这个传闻，聊点DeepSeek上搜不到的。</p><p>3. “悲情角色”和“苦情角色”有什么区别？</p><p>4. 电影《勇敢的心》的主角威廉·华莱士，《泰坦尼克号》里的杰克和罗丝，以及聂小倩。</p><p>5. “疼痛感”--“破碎感”。</p><p>6. “不适应感”--“麻木感”。</p><p>7. 聂小倩这个角色，其实可以被演绎得更丰富一些。</p><p><a href="https://www.bilibili.com/video/BV19h411S7jt/?spm_id_from=333.1007.top_right_bar_window_custom_collection.content.click&vd_source=3f0eac48b4aef21dc2256e4532cf4aa6">相关视频：《难破船》现场</a></p><figure><img src="https://image.xyzcdn.net/lgFj0GwVSKxCY6Mkk4qhNary44pJ.png"/></figure><figure><img src="https://image.xyzcdn.net/Fnlfw-ml9d5aeYCqGOK4DeUF-Oe8.png"/></figure>
March 16, 2025
<p>电影《还有明天》的成功，是“类型化”的成功，不是“现实主义电影”的成功。</p><p>导演的电影技法、类型化处理水平可以给到8分，电影拍得很流畅，动人处足够动人，紧张处足够紧张，非常不错；但稍微严肃一点看，在女性主义/女权主义这个主题的呈现和表达上，《还有明天》只能算勉强及格。这部电影有太多重要文本的缺失，也太多矫饰了。</p><p>本期节目中，会聊到但不仅限于以下内容：</p><p>1.《还有明天》中的剧情反转和人物反转是怎么做的？</p><p>2.电影里母女关系的实质是什么？</p><p>3.鲁迅的著名讲稿——《娜拉走后怎样》的含金量还在提升！</p><p>4.电影最后，女主成功实现自己的目标。然后呢？</p><p>5.《还有明天》选取的故事发生时间其实非常取巧！</p><p>6.电影中，时代洪流和精英视角的缺席对影片表达有什么影响？</p><p>7.“阶段性胜利”不强调“阶段性”，就是提前开香槟！</p><p>8.电影里，舞蹈化呈现家暴、抹去女主伤痕这些所谓的艺术化处理，如何改变了影片气质，又让影片损失了什么？</p><p>9.电影圈里是没大人了吗？</p>
February 16, 2025
<figure><img src="https://image.xyzcdn.net/lumX8ZuXEuexjARrOD4E8KxW0j2k.png"/></figure><p>聊聊新版《花样年华》，音频涉及以下内容。</p><p><br></p><p>1.王家卫太TM坏了！情人节骗情侣看《花样年华》！</p><p>2.电影里，周慕云和苏丽珍的另一半出轨的诱因是什么?</p><p>3.“扶我起来，我要小姐！”“骑自行车去风月场所！”</p><p>4.《花样年华》里爱情所处的“中间态”。</p><p>5.新版《花样年华》增加的内容，对2000年的观众有什么意义？对2025年的观众又有什么意义？</p>
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