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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电影该剧以青藏高原为背景，讲述了一个家庭在亲情、责任与关爱中成长的故事。影片中的多杰和姐姐，虽然渴望获得父亲的陪伴，但父亲却一直在外忙碌，很少回家。而当姐弟俩偶遇受伤的小黑颈鹤时，他们决定骑摩托送它前往云南越冬地。这段旅程不仅让多杰和姐姐体验到自然界的美好，也让他们深刻体会到家庭间相互扶持的重要性。

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该剧是一部以警察与毒品犯罪为主题的电影。影片讲述了缉毒总督察李志行派遣卧底探员江铭潜入贩毒组织，誓将毒首韩洋抓捕的故事。然而，江铭却为势所迫步向黑暗，最终与李志行成为了敌人。这部电影让观众深刻地了解了警察工作的艰辛和付出。

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该剧是一部展现当代年轻人生活现状的电影，由黄璐饰演李一甜，讲述了一个在大城市拼搏的年轻女性的故事。影片聚焦于新一代年轻人的努力生活，从理想到无奈，再到新生的痛苦和奋斗的过程。

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⃣️男凝视角格外严重，里面的女性人物都不像个正常人⃣️聂小雨——我属实是在她的行为中没看出她是个受害人，如果某些人粉丝认为干巴巴的“你是不是嫌弃我了”也算的话，那我无fuck说?⃣️卫国平——不明白编剧是想塑造一个好警察还是想塑造一个灰色人物按照过审逻辑来说，警察必须是正面角色，那么我在这部剧里面完全没看出来。和黑社会老大的妹妹纠缠不清就算了，陈山河的弟弟混黑他也利用自己的关系让他不必付出代价我只能说混黑的没背景的社会人哭晕在厕所好吧……tm这