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紐約的街和人編織成的鏡頭序列像是一塊又一塊背景板，透過(guò)阿克曼的眼睛去進(jìn)行長(zhǎng)時(shí)間的審視，念母親的信使這些背景板變得更加遙遠(yuǎn)疏離。簡(jiǎn)單的紀(jì)錄片結(jié)構(gòu)設(shè)計(jì)卻起到了四兩撥千斤的效果，很助眠很喜歡，最后的結(jié)尾的鏡頭很棒，今天才知道雙子星大廈在那個(gè)時(shí)候那么顯眼，甚至成為最后城市的海市蜃樓的主角。

非常中規(guī)中矩的破案經(jīng)過(guò)，相當(dāng)有特色，演員也很出色

一集一個(gè)美國(guó)敏感話題，實(shí)在太有意思了

cult港片影史里值得一提的一筆。

Weill portrays a single, green girl's helpless loneliness in a big city (it's always NYC) with such authenticity and delicacy; Susan's not selfish but only scared, of being WITH someone and making up her own calls. And that's not only the struggle of being single but also being a single woman during the 1970s after the 2nd-wave feminism movement. Yet it remains pertinent now more than ever: How hard is it to be in the counterculture when mainstream prevails? How would marriage do to friendships? What's it like to maintain the female perspective? Frances Ha's answer pales like a superficial YA novel in front of this one.