#无依之地最佳剧情电影##曼克##赵婷获金球奖最佳导演#
一直埋头看电影学的史料和理论

却忽略了今年的好片子（2020年的）

大卫芬奇重新拍feature film我是没想到的（why u always lying?[笑而不语]）以前说好的只拍tv show了[笑而不语]

作为最早启蒙我的，让我热爱电影的导演之一。大卫芬奇的风格在我心里一直有很特殊的地位，重新看到他出山真的激动极了

但是

赵婷导演的《无依之地》真的绝，完全让我忽略自己的大卫芬奇滤镜[泪]
手法上真的很多元，整体观感就很avant garde（就像女主的货车的名字一样）

但仔细瞧的话，它其实是电影手法的集大成者。不同的表达方式可谓是贯穿了全片，甚至有的片段还改编了经典西部片的设计。非常丰富的电影语言，我可以看到赵婷导演丰厚的积淀和她对这所有前辈的独到理解。而且，这么多风格迥异的选择，全都totally justifiable。讲了一个完美的故事[泪]！（另：Frances Mcdormand真的太牛逼了。以前看Fargo时确实觉得很不错，但是《无依之地》 真的，开局两分钟，震撼我一整年。这样的演技，那所有细节，是好演员拿高薪的原因。虽然indie film百分百拿不到高薪吧）

必须去分析一下剧本了

anyway，真的很骄傲有一个来自北京的艺术家能走到这一步。北京力量！

Switching to sculpture and installation as her primary mediums,
Kusama became a fixture of the New York avant-garde,
having her works exhibited alongside the likes of Andy Warhol, Claes Oldenburg and George Segal during the early 1960s,
where she became associated with the pop art movement.
Embracing the rise of the hippie counterculture of the late 1960s,
Kusama came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots.

Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde,
staging several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s.
In 1957, she moved to the United States,
settling down in New York City where she produced a series of paintings influenced by the abstract expressionist movement.[浮云][浮云][浮云][浮云][浮云][浮云][浮云][浮云]