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Weill portrays a single, green girl's helpless loneliness in a big city (it's always NYC) with such authenticity and delicacy; Susan's not selfish but only scared, of being WITH someone and making up her own calls. And that's not only the struggle of being single but also being a single woman during the 1970s after the 2nd-wave feminism movement. Yet it remains pertinent now more than ever: How hard is it to be in the counterculture when mainstream prevails? How would marriage do to friendships? What's it like to maintain the female perspective? Frances Ha's answer pales like a superficial YA novel in front of this one.

2020金红棉影展看的，题材好，能拿龙标不易，剧情张力还行。王爹爹身板好，命真硬。看完制片人映后觉得处处都需要stakeholder management，corporate life是这样，拍纪录片也是。

有些地方一头雾水 翻译也有点怪怪的 安妮的头发真好看 穿衣打扮也超好看 色调好看 室内设计 建筑 学校 实验室 礼堂 出现的照片也自然生动 女校长太美了 那个绘画老师好讨厌

救女儿，救媳妇儿，救自己，救飞机，救火车，救矿井。。。期待下一部

2023-3-4重看；看似缺席的收信对象其实全程在场，逡巡于街头、地铁、建筑群的镜头正是一种回应，单声道的家乡来信召唤着遥远的乡愁，而城市具有压迫性的景观也在制造更深层面的“乡愁”，灯光色影里的景观是人类孤独之声，承载着异乡人惶惑情感的浸润和释放；尾声在灰雾中距离倒退、色彩淡去的纽约，如海市蜃楼中的浮岛，一度被隆隆市声喧嚣盖过的自然人声/鸟声再度浮现。 以空间内部的对峙、消耗、守望、凝固，表现时间外延的流动。