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看了第一集，感覺老了太可怕啦。

如果他第一次問會說粵語的站街女的時候站街女告訴他，女兒也許就不會死

With Maiko, somewhere in 2018. I had watched the movie, and she told me that she had been to the places in the movie. We were sleepless as well. I've always liked sleeplessness, defiant agaisnt death, a conscious dream. Irrelevant things and words come up. No time's passing. Solid. But the days are gone, and I miss you. In a movie that I used to like, and all the movies that I used to have liked. In them I miss many things, including the futrue, a dog, and the past. But just like the nights the future will be another's too; Melbournian evenings, streets warm and far away and the river quietly sinking; I dive deep, lights blinking, my white table kills, namelessly, a city's doomed fate.

老片啦 補(bǔ)充下標(biāo)記 劇情有發(fā)人深省的地方 鄭則仕演技真心棒

致“偉大的頹廢”！三流末日的Cabaret，紙醉金迷和混亂之愛，瘋癲地串聯(lián)起似乎是敏感的眾多議題（涉及談?wù)摰谋旧肀闶前抵S荒謬的規(guī)則和現(xiàn)實(shí)的奇異），納粹的暗線一點(diǎn)一點(diǎn)地滲入畫面之中，攢聚著多數(shù)人的暴政的步步成型——在“自由開放”中孕育地獄。納粹少先隊(duì)的歌聲、仰拍大特寫、群起合唱影史留名。歌舞段落成為現(xiàn)實(shí)的一種映射——「她按時計(jì)酬出租自己，她死的那天，鄰居們都看竊笑，看吧，那是過量的藥物和酒精的后果。但當(dāng)我看到她像個女王般躺在那里。她是我見過最快樂的尸體?！?