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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

几个小故事讲有些现代社会中得各种女性。但是，故事多了就散，没有个主题串联。

上世纪八十年代初在国内上映，当时看没看过记不得了，每个小孩儿对这种纯琐碎生活、人物情感闷闷的电影一定不会有兴趣。因为上个月高仓健的去世翻出来看了一遍。

전도연의 가슴, 이정재의 가슴과 복근, 윤여정의 썩소, 그 이외엔 정말 볼 게 없다.

平平静静，简简单单，层层深入，温柔无比。哎，难怪人说日本女人最温柔。高仓建是一个极品闷骚男，演这样的角色很合适。怪不得是时代偶像，温柔的男人啊。