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入围塔林电影节影评人之选竞赛。 Masterfully orchestrated – with only a small budget, the setting basically consisting of a table, two chairs, two persons talking, one mysterious manuscript and some little food in-between – this two-men drama reminds me of Robert Bresson’s famous words about filmmaking: “Two types of films: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce, and those that employ the resources of cinematography and use the camera to create. (Robert Bresson. “Notes on the Cinematograph”, New York Review of Books, 2016)陌陌影视陌陌影视樱花影院6080影院法村真情负有责任的孩子春天的十七个瞬间东瀛游侠不黑林鼓声母亲/机器人生人活祭廉政第一击粤语爱情史勐垅沙干将莫邪绝情人猿星球5天将雄师一网情深永远的莫扎特加里波利看不见的女儿迷倚天屠龙记2019女人街，再见了 国语乔安娜1968回家的路2024家的港湾第五季
入围塔林电影节影评人之选竞赛。 Masterfully orchestrated – with only a small budget, the setting basically consisting of a table, two chairs, two persons talking, one mysterious manuscript and some little food in-between – this two-men drama reminds me of Robert Bresson’s famous words about filmmaking: “Two types of films: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce, and those that employ the resources of cinematography and use the camera to create. (Robert Bresson. “Notes on the Cinematograph”, New York Review of Books, 2016)陌陌影视陌陌影视樱花影院6080影院法村真情负有责任的孩子春天的十七个瞬间东瀛游侠不黑林鼓声母亲/机器人生人活祭廉政第一击粤语爱情史勐垅沙干将莫邪绝情人猿星球5天将雄师一网情深永远的莫扎特加里波利看不见的女儿迷倚天屠龙记2019女人街，再见了 国语乔安娜1968回家的路2024家的港湾第五季