1、我太喜歡里面對(duì)一些感覺的表達(dá)了，開場(chǎng)艾米莉在浴缸里的那一幕十分吸引人。 “生活變化很快，就像幕后的山脈一樣。有一天你醒來卻不知道你是怎么到這里來的。然后你想，我睡了多久，我去了哪些地方，然而你什么都想不起來，所有的一切都與你上次醒來的時(shí)候不一樣了。時(shí)間一年一年地過去，你非常明確地知道你將會(huì)死去。然后便出現(xiàn)了選擇，繼續(xù)睡覺，然后希望下次你醒來的時(shí)候，已經(jīng)解決了這件事，而且也很開心?；蛘撸憷^續(xù)醒著，和這些差強(qiáng)人意的環(huán)境作斗爭(zhēng)，去創(chuàng)造任何能夠愛的東西。如果你躲避死亡，那么你就在躲避生活?！? “街道總是延綿不斷，但沒有一條通往大海。游到最深處，下沉，下沉。游到最深處。”

“這個(gè)國家，城市，街道里都彌漫著悲傷。田地里和樹林中也彌漫著悲傷。悲傷是無法隱藏的。失去我們所愛的人的事實(shí)，孤獨(dú)的事實(shí)，事實(shí)只是觀點(diǎn)而已。觀點(diǎn)是可以改變的?！? 2、事實(shí)是觀點(diǎn)，因?yàn)榇蠖鄶?shù)人都同意，所以觀點(diǎn)才成為事實(shí)。也正因?yàn)槭聦?shí)是觀點(diǎn)，所以事實(shí)也會(huì)改變。劉擎教授的《劉擎西方現(xiàn)代思想講義》也提到尼采的視角主義。電影劇情的理解是：我們可以改變自己對(duì)生活的視角。通過重新構(gòu)建視角，我們可以創(chuàng)造出新的事實(shí)。我們可以把自己視作一個(gè)人，一個(gè)人是孤獨(dú)的。但我們也可以打開自己，把自己視作一個(gè)家庭的一份子，重新理解家人對(duì)我們的傷害，也可以構(gòu)建新的關(guān)系，我們可以重新與愛鏈接。 3、影片里的父親自顧不暇，所以“拋棄”了女兒。不由得想起我自己的經(jīng)歷?！懂?dāng)下的力量》這樣理解父母帶來的傷害：因?yàn)樗麄兓钤跓o意識(shí)里，他們活在思維里，而不是自己的本質(zhì)里，所以他們受限于此，沒有主動(dòng)選擇。對(duì)于他們的這種痛苦，唯一合適的反應(yīng)是慈悲。也正是因?yàn)榛钤谒季S里，我們才會(huì)互相傷害。我不知道，未來是否能做出一些不一樣的選擇，來自于我的本體的。

4、關(guān)于里面的男友。我認(rèn)為只是青春期的懵懂愛情，不是來自大人的成熟選擇。但我很喜歡，一個(gè)人從封閉，到進(jìn)入關(guān)系，融入愛情的這個(gè)過程。是我向往的。

The first half of the movie seems a bit of monotonous and boring, I can’t help being moved to tears at the end…

Emily is a middle school pupil lives in a foster family. All her schoolmates think Emily is a freak because she rarely speaks, is hard to get along with,offends the teacher, and even intentionally drowns herself once. Only Arden, a shy boy is always caught eyes on her by her mysterious temperament. Emily's biological mother died on one of her birthdays. Her biological father went crazy shortly after that and was institutionalized to the psych ward. Emily keeps in touch with her father through the birthday cards he sends her every year. When her father doesn't send a birthday card on her 16th birthday, Emily decides to take matters into her own hands. Enlisting Arden's help, she runs away, and the pair sets out on a road trip to break her father out of the psych ward.

I think Arden decides to help Emily for two reasons:

1. He likes her and her quiet character, shows kindness to her, sends a book as a birthday gift to her. Though Emily replies her coldness to Arden, treats him like the others.
2. The morning that Emily askes Arden, his parents were quarreling, and his father even had punched his head. Maybe he already has the idea of escaping from his parents in his mind for a long time, and just that morning, Emily gives him a sound reason and his grandmother also encourages him, providing everything he needs for their runaway.

Emily knows nothing about the second reason. She thought Arden maybe look more innocuous than the others; and maybe he is just interested in her skin and body, which is as shallow as the others. Yet Emily has no choice because she needs one's help in her plan of rescuing her father, and Arden is the only one she knows in that city.

As their journey progresses, Emily and Arden must depend on each other as they learn about life, love, loss, and letting go.

Emily's world collapsed suddenly when Mr. Goulding, the Director of the psych ward told her the fact. Her father was volunteered to stay here, not by any duress，which Emily can’t accept. How her father, the one she loves so much, could leave her behind as an orphan, letting her face the malevolence of the world alone as a 14 ages child. She doesn’t understand. She feels angry and grief so deeply. Mr. Goulding is very gentle and kind, tries to explain more, so Emily could be comforted. Even the reason sounds like a series of philosophical enlightenments.

Yet I like every word of those sayings from Mr. Goulding,

“I often think the world turns out inside, Emily. People send the ones of physically and mentally innocent to me.

Have you read Plato? He wrote a great piece of poem——the Allegory of the Cave.

All the people are sitting a row in the cave, staring at the shadow flaming on the wall. For them, the shadow's the reality. One man frees him out, and finds a path out to the light. He’s down on the sun, and he’s enlightened. This man walks back to the cave, back into the shadow, back to free people. This man who saw the light, instead of basking in it, returned to help the others, which is according to Plato. A philosopher, this man is your father.

The problem with the shipping people out of the darkness, is that the philosopher himself is blinded by the glared sun, or by grief, can loss the graben of what is the real, and what is the illusion.

This place is a cave for many people.”

This movie has a happy ending. Emily and Arden find her father in her grandfather’s sea house. Emily forgives her father, and she doesn’t mention any clue of those horrible foster experiences in the past two years. They make an agreement that her father, as a writer will live in the sea house, and Emily will go back to Mrs. Joan, a sort of nice foster mother lately.

There are so many beautiful Irish sceneries in the movie.

One more plot moved me into tears at the end. In her grandfather’s old sea house, Emily finally asks Arden why he would take those hardships and dangers to help her? For any shallow purpose? Arden goes angry and leaves Emily alone in the house. But later when Emily says to Arden that she doesn’t want to go back to the house because of the complain on her father, Arden says to Emily,

“We can leave anytime if you want.”

Emily replies to him this time, “Thanks for coming with me, Arden.” Arden smiles shyly and scratches his hair a little bit, and says “You’ve welcome.”

When they walk toward to the house where her father is in, and also the car of Arden parks, Arden holds Emily’s hand and says,

“Come on. Why not say something about me to your dad.” ——What avirtuousquality!!! The very first time, Emily willingly does as what Arden says.

I see little piece of heartfelt seen of pure emotion. Story takes turn and some seen are just not what you want or unnecessary, but this story strictly tells us that emotions of human beings may be complicated, and the reason for the complexity is just simple:

We pay so much effort or even a whole life, just want to see we are loved by the one who we love.

Emily has found she is loved by her father who she loves. How about ours?

“事實(shí)是一種觀點(diǎn)，觀點(diǎn)是會(huì)改變的?！?/p>

只是抱著下飯的心情隨便找個(gè)電影看看，結(jié)果影片的第一個(gè)鏡頭就吸引得讓我停止了咀嚼。艾米麗從浴缸中坐起的時(shí)候，仿佛是在經(jīng)歷重生，我想這大概是她思考的方式，也是她對(duì)過去的一種祭奠。

電影里男孩女孩的愛情很讓我動(dòng)容，在茫茫人海中，對(duì)一個(gè)陌生人有觸電的感覺，然后毫不相識(shí)的二人選擇信任彼此踏上路途。其實(shí)女孩一直沒有完全卸下防備，直到自己被男孩從海里撈起來，大概她自己一開始也沒有想到進(jìn)展會(huì)是這樣（是一種不去預(yù)測(cè)的態(tài)度，而非事前就認(rèn)定它會(huì)發(fā)生或不會(huì)發(fā)生），但是也就如同她的話：fact is a point of view。然而人的觀點(diǎn)是會(huì)改變的，所以人們也常常在改變自己的態(tài)度。我想，她遇到了那個(gè)改變她遭遇變故以來的“事實(shí)”的人。

我喜歡這種自然發(fā)生的愛情。

邊緣電影，導(dǎo)演應(yīng)該也是個(gè)意識(shí)流的人，整片很壓抑，到最后他或許想給我們一種很完美，很開心的結(jié)局，但整部影片結(jié)束的時(shí)候我仍然很壓抑。我其實(shí)從小就是個(gè)寫字比較習(xí)慣于堆積詞藻的哲學(xué)家語態(tài)，后來知道了要"現(xiàn)實(shí)"，但導(dǎo)演不是，能拍出這種東西的人就是艾米麗本人。艾米麗太獨(dú)特了，與眾不同，她從小被神經(jīng)質(zhì)的爸爸灌輸著那些亂七八糟的哲學(xué)思想，她總在考慮世界和人群。她父親沒瘋？她父親早就瘋了，脫光了衣服在大街上喊，自言自語分子草葉和靈魂，她父親并不是超脫人世，她父親是有心理疾病，他有病態(tài)的執(zhí)念和并不成熟健康的心理承受能力，他就是個(gè)典型的現(xiàn)代詩人，他不想對(duì)任何事情負(fù)責(zé)任，包括女兒，心理脆弱的要用所有的愛保護(hù)他，不然就會(huì)崩潰，他麻痹自己，他并沒有跳脫，他只是自己給自己建了個(gè)牢籠而已。 導(dǎo)演想講公路，治愈和愛情？不是，他想講哲學(xué)，他有些部分做的有些太過火了和矯情，于是他讓男主角英雄救美了。男主角是個(gè)正常人，只是稍微思想有些詩意和邊緣化而已，女主有些行為的確有些匪夷所思，她很自我，但真的很獨(dú)特，我以前也是這樣，但我沒她的勇氣。

導(dǎo)演所表達(dá)的一切都太隱喻了，他從不明白的說明他是什么意思，他想表達(dá)什么，他們并沒有治愈！他們并沒有成功！只是找到父親了？找到父親一切就迎刃而解了？并沒有，為了邊緣而邊緣，這就是這部電影分不夠高的原因，畢竟這是一部電影。

它并沒有詩意，詩意不是這樣的我保證，它只是想討論一些東西，表達(dá)一個(gè)女孩痛苦而麻木不仁的心里狀態(tài)而已，和一些導(dǎo)演想說的話。

我想說，它并不完美，如果導(dǎo)演想的再透徹一點(diǎn)，就不會(huì)有那么多廢話在里面，精神病院院長(zhǎng)說她父親已經(jīng)死了，她父親是拯救蒼生找尋真理的悲哀的救世主，她說這樹這欄桿這城市都是憂郁的。這都是些什么？

如果他真的那么偉大，就不會(huì)離開她女二讓一個(gè)14歲的孩子顛沛流離，如果他的智慧真的超脫格局，他就不會(huì)在大街上做那些格格不入甚至低俗不考慮他人感受的事情，連融入都無法做到，連讓女兒上學(xué)都無法做到，他有什么資格阻攔別人的前途呢？

導(dǎo)演想說真理，但他成功的只有氣氛。我很喜歡這里的幾句話

很美…很聰明的一句話，還有這個(gè)鏡頭。

我覺得很漂亮。

它就像另一個(gè)說不清道不明的《去他媽的世界》。

其實(shí)我很迷戀這種氣氛…要掉進(jìn)去了…之前也很喜歡看這種不明不白的書，邊緣并且有些病態(tài)的書，但是我長(zhǎng)大了，并且這個(gè)有點(diǎn)太過了。

很神奇的是，這里面我只聽到了兩首歌(大部分我覺得很平庸的歌我跟沒聽到一樣……看完這部電影我也想不起來……有時(shí)候甚至覺得沒配樂……)，開車時(shí)一個(gè)女人抖著嗓子唱的歌，結(jié)尾時(shí)一個(gè)男的抖著嗓子唱的歌。我覺得很好聽，歌詞也很美。

最后我想說，他們那幫同學(xué)真的素質(zhì)很低，這男主角長(zhǎng)的真想尹正，女主角一家長(zhǎng)的真是一模一樣……

更：emm我剛剛查了一下，這個(gè)導(dǎo)演果然沒火起來……

少女艾米麗蒼白美麗，轉(zhuǎn)學(xué)到新的學(xué)校里格格不入。也許是她懂得太多，也許是太過獨(dú)立，所有人都覺得她太怪了，人們把異于常人的事物統(tǒng)統(tǒng)稱作“怪物”。少女艾米麗在學(xué)校里獨(dú)來獨(dú)往，在家里也是，會(huì)覺得收養(yǎng)她的養(yǎng)父母過于呱噪，給她帶來沉重的負(fù)擔(dān)。

然而生日的這天少女沒有接到在精神病院里父親的信，她斷定爸爸出了事兒。過于悲痛得父親在因?yàn)檐嚨溨惺チ似拮铀跃窕靵y。

舉目無親的艾米麗決定去救爸爸。她找不到同伴，只有一個(gè)少年曾幾次跟她搭話。她決定請(qǐng)求他的幫助。少年阿爾丁剛在家里挨打，正準(zhǔn)備出門，艾米麗來了，說你能現(xiàn)在跟我走去救爸爸嗎。

阿爾丁望著這個(gè)他曾想要靠近的姑娘，正常人可能都會(huì)拒絕吧。畢竟這件事兒聽起來真不可實(shí)現(xiàn)。去精神病院救人？憑我們兩個(gè)人？現(xiàn)在出發(fā)？

艾米麗望著少年，少年猶豫不決。艾米麗轉(zhuǎn)身就走了，甩著馬尾辮走在人群里。少年轉(zhuǎn)身對(duì)爭(zhēng)吵的父母道別，說我要走了，然后沖出去追上了艾米麗。

這是讓我最心動(dòng)的一塊兒。

我莫名相信你，所以來請(qǐng)求你的幫助。

我相信你，所以愿意陪你去做不可思議的事兒。

就像是月升王國里那么簡(jiǎn)單的一樣。

年少啊，所以有滿腔的熱情。如果是大人會(huì)怎么樣呢，大人會(huì)權(quán)衡利弊，會(huì)勸說你。不會(huì)這樣說走就走。他們都太過于循規(guī)蹈矩，就像是以為事實(shí)就是真理，可事實(shí)不過是一種一部分人聚在一起決定好的一種觀點(diǎn)。

后來影片就成為公路電影了，開著顏色艷麗而嶄新的車。那車玻璃亮的比我剛買的新車都亮。開了好幾天也不見有灰。音樂，美麗的風(fēng)景，兩個(gè)少年。

最后當(dāng)然也見到爸爸啦。旅途最增加兩個(gè)人的感情。彼此依靠，一起探險(xiǎn)。

少女艾米麗回到了養(yǎng)父母的身邊，與少年阿爾丁一起上學(xué)。而爸爸就留在海邊看看風(fēng)景寫寫書。

哲學(xué)家大部分都過于獨(dú)立，也有些自私。艾米麗和她爸爸都有這一特點(diǎn)。