一个对飞行有强烈偏执和幻想的男人的梦圆。故事讲完了，却是迄今看到零九戛纳里最值得玩味的一部作品。相比Heneke的精心安排，Audiard的别出心裁，Resnais的封笔之作乃神来之笔，着实给观众开了一个会心的玩笑。

第一次完整地观看Resnais的作品。早有听闻其影像叙事的文学表达，仅凭着对《广岛之恋》剧本的模糊印象，揣摩导演偏好独白的用意。导演故意分割影像与声音的联系，即打破电影本身的表达特点，旨在营造文本朗读的情境，却又不放弃用影像开启，或者限定观众的想象空间。极为个人的表达的方式放大了无声和有声电影的临界点，赋予了电影本身更多的可能性，尤其在取景和剪辑上。

为什么说是一个玩笑？因为影片会一直有让人以为有什么，其实什么都没有的感觉。观众随参差不齐，也应该鲜有人能从始至终识破导演的“陷阱”，好比超级玛丽的闯关游戏，把影片的互动娱乐功能发挥到极致。走出电影院时，脚底只有轻云。

疯草为题，实指影片众多角色的疯狂特质，影射可以像草一般在任何地方疯长的情欲，一如影片中对福楼拜的引用：“N’importe, nous nous serons aimés.”另一句台词也很精妙：“On pourrait s’aimer sans s’inquiéter; On pourrait aussi s’inquiéter sans s’aimer.”

耄耋之年的Resnais豁达的人生观在影片中一览无遗，颇有道骨仙风。超现实，说穿了还不都是因为离不开现实。如果说《Un prophète》是Audiard的野心之作，《Das weiße Band》是Heneke的别有用心，那么《Les herbes folles》则是Resnais的无心之举。心中无剑之境，方能无招胜有招。

Friend after friend, stranger passing stranger, more and more people get iphoned. Compared to the H1N1, not surprisingly iphone turns more epidemic and its explosions equals to the number of deaths of the flu. Never have i doubted how user-friendly iphone is. Another “reasonable”argument for conversion is that why should i choose an alternative when iphone becomes daily more affordable. However, that is not my point.

Have you ever calculated the ratio of iphone time spending over twenty-four hours? Such application has not yet been created and surely it will not be popular since every iphoner prefers to ignore the figure. Iphone turns out a handy connection to the virtual world while using desktop or laptop is trapped by its weight and size. Evidently, a touch screen is more appreciated than a keyboard even a mouse. It seems that the ithing had brought us back to the prehistoric epic when our craftsmanship was still in progress. The movie Wall-E sketches a realistic image of our future. The ironic part, which i applaud mostly, is that the machine we create turns us back to humans.

In front of iphone, I find myself as affirmative as my biology teacher when she explained that Human is not animal: iphone is only a machine. As I mentioned, iphone is undoubtedly a genius creature. Just do not forget that machine is machine. Never should we 100% depend on it, at least. The iphonemania just remind me of the conversation I had with my colleagues. Personally, it is insane to ignore that electricity, source of power for kinds of machines, could be off from time to time. Admittedly, such ignorance exists logically, or naturally, in a country like France where electricity is never short. People just get around by all types of machines who steal, to some extent, our craftsmanship. As Chinese, nobody, if i didn’t misunderstand, put a piece of silk in the laundry machine. Apparently, thanks to the advancing technology and impeccable promotion, silk is welcome, as machines say so. What’s the next? It is time to set up a festival for POWER OFF following the idea of turning off TV for one day.

Luckily, iphone has its own fatal defect: fragility. As compact as it is, you should do nothing but take care of it. It is not a Nokia that has been proved to be grounded several times healthily. Another sounding interpretation would be that such fragility keeps clients to purchase their new products. As usual, business is as dirty as it is. Be careful: everyday there is iphone getting stoned or stolen though it happens as well for other phones. But the effect will be different since you show excessive affections for this tiny little creature. Its departure hopefully will make you as desperate as a housewife. For those ready-to-iphoners, if you cannot bear such loss, just try another brand. See the number of“i”s appears in this text? That represents the devil seduction you will encounter when your finger once gets on the screen.

清冷的周三，城市大雾，虽然已近晌午。偶遇淹没云端的铁塔，地下的入口却从未得到这咫尺同僚比肩的亲睐，勉强双双入镜，有图有据。那大雾就好比铁塔下的拥戴，树上零星屈指的叶是我们仨的写照。

下楼梯。室外的冷风减弱，热气缓缓蒸腾，初冬的确是个不错的选择。热量不会聚成浪，气味也就多少收敛。左转，开始迷宫。传说的地下巴黎就在脚下。Avenue Bosquet，恩，我能听到落叶，能嗅到咖啡香。地上的Galerie Belgrand，地下的巴黎下水道历史回廊。法国人对艺术的那点心思真是让人心悦诚服，伴着汩汩下水声，在蜿蜒中了解历史，看下水桑田。展牌的错落使得盎然的参观者一次又一次地在下水道上方的的铁网穿梭，完成不可能的互动。愚钝点的策展人绝对是平行两幕排设展牌，观者只能靠墙而行。时间在推移，气味里洗发水味道的渐强告知了城市的醒来。对，今天是假日。

下水道纵切面越看越像人脑的切片，天马行空的作家是不是可以文如下水流出一个悬疑如达芬奇的故事，集思广益的中学老师不排除将这图形应用在面积计算的测验当中，是为素质教育。巴黎下水的闻名也就逃不出艺术创作的方寸：雨果保存了他生活年代的下水文字描述，这方格之外则来自某本连环画的情节。下水道坦然成为生活里中性的一个存在，这恐怕也只能在巴黎看到。家乡的下水道从来不赋予人任何想象的空间，因为眼不见心不烦，城市的道路在扩张，下水的超载已经难以想象。南方的大雨洗劫留下的是八十米宽马路的深浅水洼，趟的还是那些路人，可这八十米早已写进某某某的列传。所以，城市考察若较真呢，一定要走出车门，买一张票，从城市一隅到另一方；撑一把伞，由大街逛到小巷。纸上谈兵的结果就是往烂泥上贴金。

行程的最后总算一睹刮沙大球的真面目，对了国家地理的号。

当然，纪念品店里的七段小影片不得不看，活生生的法语教材，可惜不出售。若有个下水道清理模型也是让人心动的。

那么就记住一个号码吧： 44 75 22 75。若有一天，你的物件落入了下水沟，请拨号。当然，也可以不怀好意地行为艺术一把：扔一把无用的钥匙，体验一次巴黎下水抢救。不得不又一次为巴黎的公共设施鼓掌。艺术以平民的姿态进入生活，实现了唤醒人性的初衷。

最后的最后，送上节日照片一张，准备迎接天降的节日谋杀吧。