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
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对着镜子扒开双腿自慰 多美的名字 片中充满着普契尼歌剧“艺术家的生涯” quando men vo再现的几次让人心荡漾 女主犹如歌剧中的米塞塔