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入围塔林电影节影评人之选竞赛。 Masterfully orchestrated – with only a small budget, the setting basically consisting of a table, two chairs, two persons talking, one mysterious manuscript and some little food in-between – this two-men drama reminds me of Robert Bresson’s famous words about filmmaking: “Two types of films: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce, and those that employ the resources of cinematography and use the camera to create. (Robert Bresson. “Notes on the Cinematograph”, New York Review of Books, 2016)热播电视剧最新电影后备甜心窒风之中 第三季外来媳妇本地郎5魔宫魅影夺爱之冬奇思妙探马耳他命运石之门0为何来我家府衙惊魂猎魔者红气球咒怨之极度恐惧毒蜘蛛1972思绪膨胀全世界都不如你布拉格的大学生1935温暖渐冻心曼谷之夜我的一家人 第二季妻子的叛乱奇怪的她2016大天使完美的蛇颈龙之日伪装大师（下）
入围塔林电影节影评人之选竞赛。 Masterfully orchestrated – with only a small budget, the setting basically consisting of a table, two chairs, two persons talking, one mysterious manuscript and some little food in-between – this two-men drama reminds me of Robert Bresson’s famous words about filmmaking: “Two types of films: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce, and those that employ the resources of cinematography and use the camera to create. (Robert Bresson. “Notes on the Cinematograph”, New York Review of Books, 2016)热播电视剧最新电影后备甜心窒风之中 第三季外来媳妇本地郎5魔宫魅影夺爱之冬奇思妙探马耳他命运石之门0为何来我家府衙惊魂猎魔者红气球咒怨之极度恐惧毒蜘蛛1972思绪膨胀全世界都不如你布拉格的大学生1935温暖渐冻心曼谷之夜我的一家人 第二季妻子的叛乱奇怪的她2016大天使完美的蛇颈龙之日伪装大师（下）