Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep.Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ.But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality.Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle.The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked.The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood.And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

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该剧是一部令人兴奋的冒险故事，讲述了飞鸭马拉德一家向南迁徙前往热带的牙买加，却意外闯入疯狂大都市纽约的故事。在紧张刺激的飞行之旅中，他们将如何化险为夷？

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该剧是一部以年南京为背景，讲述特工金深水（张译饰）在南京城里为生存而战的故事。这部电影通过紧张刺激的情节，展现了战争时期中国百姓的疾苦以及中国特工在敌后活动的艰辛。

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#M观影团影迷日记##被我弄丢的你观后感#很久没在大荧幕看爱情片了，关于爱情还是面包的永恒命题，不同的视角会有不同的答案，男女主经历的正是大部分人所经历的，校园到社会，从青涩的浪漫到中年的成熟稳重，顾全大局。曾经那份奋不顾身的爱情，回头还想去握紧吗？但若放弃，又怎是仅放弃了现在，更是放弃了过去，停留在过去不可怕，可怕的是向前进却不想行动，显而易见电影中的男女主找到了平衡，希望更多在大城市奋斗的年轻伴侣们，也能找到那个不会被自己弄丢的人，和永远不要弄丢自己。

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故事中，谷文通和欧阳文慧之间的友谊，让人不禁想起那些曾经一起走过的人。他们的相似和不同，都在这个城市中找到了归属感。