在你觉得遗憾的爱
本来奔着图书馆去的，结果又是排大队.........
我要去看电影，那部被小伙伴诉说：这么冷的季节怎么可以去看的悲催的电影！
就是THE IMMIGRANT我的法国女神 Marion Cotillard那个海报大的我都没有关心那些个男主角！！！
结果自己被那个梳着有头的大叔吸引了；帅啊！
偏题了故事的开斗是说发生的1921年；那些个很多人要去美国，实现自个儿的美国梦，Ewa 和姐姐Magda一起排队准备头碰自己的姨妈和姨父， 准备着被检查；通过；那姐妹儿的脸色儿都不一样；一个就是黄连⋯⋯婆，另一个似散落在人间的天使；说着一口流利的波兰话，不好听；我觉得，但是美女说又是另一回事了(^_−)−☆ 姐姐被发现身上有疾，被抓去医院，妹妹高呼姐姐，我会带你出去的；那个男主角在一旁看着一切的发生；那小侧脸；俊啊；还有配着大油头，帅！！脑海顺价就是小马哥还有梁朝伟！！！！
故事就这么开始了；只在人群中多看了你一眼，事情就发生了，虽然Joaquin Phoenix是守株待兔，但是还是冥冥中注定的⋯⋯⋯⋯⋯⋯⋯⋯
姑娘在盖章通过的时候，被人说有犯罪行为；悲剧的开始往往才能展开故事的继续，就这么姐妹被分开，还被告知；在纽约的亲人地址也是无法查到了，瞬间觉得；她会不会被自己的人耍了，
妹子哭哭啼啼；哥儿很快就出现；那多么一个英雄救美，还声东击西；故意让妹子先搭讪他，老手！妹子求哥儿帮帮她，那小脸带着哭腔，could u please help me,pl ,pl^^^^^^哥瞬间移步去和士官长贿赂；就这样；妹子踏上了船儿，风儿吹动了船帆，她和陌生男人开始了去NYcity的旅程。女主人公很主意安全，主意形象，后来被姨父出卖，又被送回监狱，用发夹扎破自己的手指，用鲜血来涂抹自己的嘴唇 和脸颊 瞬间还拍打自己的脸，这都是小tips，为了能在当晚的监狱舞会碰见自己的姐姐，，Jeremy Renner 的出现让我想吐血；k 画眼线；变魔术；我的硬汉又被毁灭了，但是想象马特雷蒙，穿着带钻的三角裤衩在泳池边，我的心真的是在风中漂浮如一把刀，想把人砍下去⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯算了都要生活；为了家庭还有所谓的艺术牺牲，自我挑战blablabla⋯⋯⋯⋯⋯⋯ 变魔术的时候 开启他俩的相遇；一朵白玫瑰花，类死定情信物，狗血！！！
最后姐姐被救出来了；还知道那时用鸦片来退却伤痛，妹妹和姐姐要去加尼福尼亚，开始重新的生活⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯ 男主角们没有和Eva在一起，其实只是一片家庭剧，讲述妹妹不屈不挠，历尽千辛万苦 把自己的姐姐救出来，所以说能救人的人不见的会比被救的人过得好；吃得饱，穿得暖；
这个是转载网上的讲述，我只是自己说说小混乱的心思
By the fag end of the Cannes competition the legs have gone, the brain is woolly and the films themselves appear to have come out in sympathy. Michael Kohlhaas is a creaking, unyielding historical horse-opera that finds Mads Mikkelsen jutting his chin and staring endlessly into the middle distance as the resolute leader of a peasant revolt. The Immigrant starts out as a handsome, heavy saga of 1920s New York before suffering the cinematic equivalent of a nervous breakdown about midway through.
Marion Cotillard is the Polish innocent turned prostitute, resplendent in peacock feathers, while Joaquin Phoenix sparks and crackles fitfully as her jittery pimp. These two love each other and hate each other, but the film finally sloughs into such a state of dishevelment that it's hard to care about their American dreams.
Over the past 24-hours, there has been a tentative, shuffling move to anoint Blue is the Warmest Colour as the Palme d'Or frontrunner. The sense is that Abdellatif Kechiche's lesbian love story ticks all the right boxes, in that it is small but expansive, gently political, and formally radical enough to appease the fringes without spooking the mainstream. No doubt the film would make a worthy winner, though I still nurse hopes for Inside Llewyn Davis or La Grande Bellezza. Paolo Sorrentino's stunning, swirling portrait of Rome's high society is, I've decided, my film of the festival. Assuming it doesn't take the Palme d'Or, the best director award looks a good enough bet.
All told, this has been an excellent festival; far superior to last year's vintage. The rain fell hard but it was unable to dampen the spirits or wash out the programme. The films, by and large, stood up brilliantly. It is only now that this event is showing distinct signs of wear and tear.
La Grande Bellezza wraps up with a wonderful segment involving Sister Maria, a decrepit saint, who sleeps in a cupboard from where she is periodically wheeled out to stand insensibly at photocalls or sit around at fancy dinners. Sister Maria is barely moving, barely alive. Her obsequious spokesman explains that she turns 104 next birthday. "I thought she was older," says a guest at the table.
One day, perhaps, Sister Maria will be installed as the patron saint of the Cannes film festival. In these, the dying hours, she is the one to whom we can all relate. I'm staggering about in the bowels of the Palais. I'm standing insensibly in the line for the films. I require a quiet cupboard where I can lie down and sleep.
说到剧中的美国梦；我也有个纽约梦；就是为了王宇直，可是破碎了；破的我都不稀罕了，
我要去看电影，那部被小伙伴诉说：这么冷的季节怎么可以去看的悲催的电影！
就是THE IMMIGRANT我的法国女神 Marion Cotillard那个海报大的我都没有关心那些个男主角！！！
 |
大海报；只看到女神；忽略男主角 |
结果自己被那个梳着有头的大叔吸引了；帅啊！
偏题了故事的开斗是说发生的1921年；那些个很多人要去美国，实现自个儿的美国梦，Ewa 和姐姐Magda一起排队准备头碰自己的姨妈和姨父， 准备着被检查；通过；那姐妹儿的脸色儿都不一样；一个就是黄连⋯⋯婆，另一个似散落在人间的天使；说着一口流利的波兰话，不好听；我觉得，但是美女说又是另一回事了(^_−)−☆ 姐姐被发现身上有疾，被抓去医院，妹妹高呼姐姐，我会带你出去的；那个男主角在一旁看着一切的发生；那小侧脸；俊啊；还有配着大油头，帅！！脑海顺价就是小马哥还有梁朝伟！！！！
故事就这么开始了；只在人群中多看了你一眼，事情就发生了，虽然Joaquin Phoenix是守株待兔，但是还是冥冥中注定的⋯⋯⋯⋯⋯⋯⋯⋯
 |
哎呀；泰坦尼克的穷酸版 |
姑娘在盖章通过的时候，被人说有犯罪行为；悲剧的开始往往才能展开故事的继续，就这么姐妹被分开，还被告知；在纽约的亲人地址也是无法查到了，瞬间觉得；她会不会被自己的人耍了，
妹子哭哭啼啼；哥儿很快就出现；那多么一个英雄救美，还声东击西；故意让妹子先搭讪他，老手！妹子求哥儿帮帮她，那小脸带着哭腔，could u please help me,pl ,pl^^^^^^哥瞬间移步去和士官长贿赂；就这样；妹子踏上了船儿，风儿吹动了船帆，她和陌生男人开始了去NYcity的旅程。女主人公很主意安全，主意形象，后来被姨父出卖，又被送回监狱，用发夹扎破自己的手指，用鲜血来涂抹自己的嘴唇 和脸颊 瞬间还拍打自己的脸，这都是小tips，为了能在当晚的监狱舞会碰见自己的姐姐，，Jeremy Renner 的出现让我想吐血；k 画眼线；变魔术；我的硬汉又被毁灭了，但是想象马特雷蒙，穿着带钻的三角裤衩在泳池边，我的心真的是在风中漂浮如一把刀，想把人砍下去⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯算了都要生活；为了家庭还有所谓的艺术牺牲，自我挑战blablabla⋯⋯⋯⋯⋯⋯ 变魔术的时候 开启他俩的相遇；一朵白玫瑰花，类死定情信物，狗血！！！
最后姐姐被救出来了；还知道那时用鸦片来退却伤痛，妹妹和姐姐要去加尼福尼亚，开始重新的生活⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯ 男主角们没有和Eva在一起，其实只是一片家庭剧，讲述妹妹不屈不挠，历尽千辛万苦 把自己的姐姐救出来，所以说能救人的人不见的会比被救的人过得好；吃得饱，穿得暖；
 |
回头望过去；我要的我做到了，可是我爱的我分离了 |
这个是转载网上的讲述，我只是自己说说小混乱的心思
By the fag end of the Cannes competition the legs have gone, the brain is woolly and the films themselves appear to have come out in sympathy. Michael Kohlhaas is a creaking, unyielding historical horse-opera that finds Mads Mikkelsen jutting his chin and staring endlessly into the middle distance as the resolute leader of a peasant revolt. The Immigrant starts out as a handsome, heavy saga of 1920s New York before suffering the cinematic equivalent of a nervous breakdown about midway through.
Marion Cotillard is the Polish innocent turned prostitute, resplendent in peacock feathers, while Joaquin Phoenix sparks and crackles fitfully as her jittery pimp. These two love each other and hate each other, but the film finally sloughs into such a state of dishevelment that it's hard to care about their American dreams.
Over the past 24-hours, there has been a tentative, shuffling move to anoint Blue is the Warmest Colour as the Palme d'Or frontrunner. The sense is that Abdellatif Kechiche's lesbian love story ticks all the right boxes, in that it is small but expansive, gently political, and formally radical enough to appease the fringes without spooking the mainstream. No doubt the film would make a worthy winner, though I still nurse hopes for Inside Llewyn Davis or La Grande Bellezza. Paolo Sorrentino's stunning, swirling portrait of Rome's high society is, I've decided, my film of the festival. Assuming it doesn't take the Palme d'Or, the best director award looks a good enough bet.
All told, this has been an excellent festival; far superior to last year's vintage. The rain fell hard but it was unable to dampen the spirits or wash out the programme. The films, by and large, stood up brilliantly. It is only now that this event is showing distinct signs of wear and tear.
La Grande Bellezza wraps up with a wonderful segment involving Sister Maria, a decrepit saint, who sleeps in a cupboard from where she is periodically wheeled out to stand insensibly at photocalls or sit around at fancy dinners. Sister Maria is barely moving, barely alive. Her obsequious spokesman explains that she turns 104 next birthday. "I thought she was older," says a guest at the table.
One day, perhaps, Sister Maria will be installed as the patron saint of the Cannes film festival. In these, the dying hours, she is the one to whom we can all relate. I'm staggering about in the bowels of the Palais. I'm standing insensibly in the line for the films. I require a quiet cupboard where I can lie down and sleep.
说到剧中的美国梦；我也有个纽约梦；就是为了王宇直，可是破碎了；破的我都不稀罕了，
