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觀眾如果愿意將就，情愿被影片氣息感染，我相信他并沒有浪費時間；當(dāng)然這個是個人選擇，影片已經(jīng)是這樣，我并沒覺得它有刻意的高姿態(tài)，它比姜文的片子低調(diào)多了.
這覺得這樣的片子起碼比房間要強(qiáng)，但是人們把房間當(dāng)喜劇看又找到了獨特的樂趣，而正把它當(dāng)一部真正的電影看，房間是遠(yuǎn)遠(yuǎn)不及格的！有時候觀眾愿意換個角度，所以還是看個人怎么去看.
看完我有種感慨，活著是自由，自由也是我們有可以結(jié)束的選擇
6/10.
在歌舞升平的巴黎，藤田嗣治活得瘋狂，認(rèn)為越是行事乖張的活著越能接近熱愛的藝術(shù)，回到日本被軍部要求作畫的時候，《鸚鵡殺》展覽畫令來訪者均雙手合十哭泣，相信繪畫無關(guān)畫的內(nèi)容而成為藝術(shù)的永恒.
他和妻子的生活對話充滿童趣，妻子挑選布料一直拿不定注意，藤田勸說都買下因為砸錢越多女人越美麗，引起了妻子醋意讓他以布料種類形容曾經(jīng)的女人，此刻藤田從巴黎的糜爛中轉(zhuǎn)變?yōu)閼?zhàn)時物資不足的平凡丈夫，也預(yù)示他將漫步山林中逃避戰(zhàn)爭，坐到河邊聽見詭異的笑聲，轉(zhuǎn)頭看見木板搭起的地方，出現(xiàn)一個白皮膚的洋裝娃娃和一個嬌小的和服娃娃，兩個.
灰黑的山間煙霧與結(jié)尾夏天綠得發(fā)亮的古樹形成鮮明對比，片尾的教堂壁畫都是藤田這時期的作品，借宗教達(dá)成自我藉慰，那副畫沉墜于泛著波光的流水，從此淡忘苦難.
