Norman Manea was born in Bucovina in 1936; both he and his family were deported to a concentration camp in 1941. He survived, became a writer, and emigrated from Romania to the West in 1986. Today he lectures and writes in New York. Such biographical information about the author is not revealed until well into the film. Priority is given to his literature, which is placed directly in the frame: intertitles containing extensive, strongly autobiographical excerpts from Manea’s works set the rhythm, supplemented by observations of the writer’s appearance as a public figure at book fairs and seminars. Images from the present day also show different stations of his life, such as a Jewish cemetery in Ukraine. A multi-layered texture is created, weaving together the written and spoken word, 16 mm film and digital footage, black-and-white and colour, sound collages and noise. It is a film of fragments whose contexts remain vague; this is no coherently narrated portrait of an artist. Instead, Le beau danger asks how memories and experiences of exile and alienation can be conveyed both in literature and in film, suggesting an open, essayistic form as the answer to its own question. (Berlinale 2014)

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剧看了一个多星期都没有写短评，虽然这部剧质量不差，但看完之后没有很深的感触。细想之下，可能是因为对话太密集，几乎是对白撑起了剧情，有种看书可能比看剧更好的感觉。当然倍速可能也影响观感。集的篇幅很良心，可以星鼓励。尽管这部剧非常“电视剧”，视听语言挺平淡的，但故事起承转合层次清楚。一开始余欢水懦弱爱撒谎，泼妇邻居，势利同事，这种谁凶谁有理，老实人被欺负的情况，可以得到广泛的共鸣。后来他得知自己时日不长开始放飞自我，看到这，突然想起一个关于“道德绑架”的广告来，一

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该剧以唐朝时期的历史为背景，反映了人性中的善良与邪恶。同时也展现了当时社会的风貌，让观众更好地了解这一段历史。

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他自卑、懦弱，明明有喜欢的人却不敢说出来，看见萱萱和别人在一起又什么都做不了。于是，他选择用最极端的方式拆散他们。可惜拆散他们，并不能让萱萱和自己在一起。用卑劣的手段报复情敌，不如让自己变得更加优秀。煞费苦心拆散别人，不如让她知道你的真实想法。最痛苦的不是得不到，而是你从没争取过。他从未和萱萱有过什么，却还陷入了自以为是的“专一”。你为她守身如玉，其实你根本不需要这么做。因为她只是把你当成朋友而已，她根本不在乎你和其它女人是什么关系。他产生了心理疾病，在他