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臺詞多得煩人… 幾個配角令人印象深刻，如毒蜂，梁仲春…燈光對比得刺眼，尤其是室內(nèi)戲不管白天黑夜，燈光太猛

上承《塞瑟島之旅》的告別主旨，下啟《霧中風(fēng)景》的尋路題材。通過一個有點亂倫的故事，用豐富的隱喻告別過去。此后，安哲電影里的希共符號逐漸淡去，留下純粹的傷痕觸摸種族、民族、難民等問題。“讓我走吧”，走向全球化、美國化和后現(xiàn)代世界，而希共留下的革命敘事和解放承諾，顯得不合時宜、老土陳舊，和年輕的身體有了隔閡，這種若即若離、時代更替、浪潮迭代，匯聚成銀幕下的激情，成為電影的原動力，某種意義上該片是安哲的元電影。

【X】挺圣丹斯的，某種角度上說從這部到「瞬息」確實是飛躍式進步，短篇廣告變成長篇混剪合集。

"Whatever else Breathless is, it’s a Valentine to two impossibly young, eminently watchable faces. They’re not especially beautiful, but the camera can’t stop looking at them. To put it another way, Breathless is an extended close-up of two people who will never get to know each other or themselves any better than the viewer does." "I’m going to outstare you. Bit it was more than just a staring contest between me and the camera. My relation to the camera, it had nothing to do with complicity to insolence, or boldness or defiance." — From The Journals of Jean Seberg

這頓繞啊，一頓反轉(zhuǎn)，不自然的反轉(zhuǎn)