關於生存本質的隱喻與現實的解構
Synecdoche, New York (2008)Director:Charlie Kaufman
Writer:Charlie Kaufman
Cast-
Philip Seymour Hoffman ... Caden Cotard
Catherine Keener ... Adele Lack
Michelle Williams ... Claire Keen
Samantha Morton ... Hazel
Jennifer Jason Leigh ... Maria
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關於生存本質的隱喻與現實的解構
（摘一下劇中劇神父講的一段話）
:::::::::
Everything is more complicated than you think.
You only see a tenth of what is true.
There are a million little strings
attached to every choice you make.
You can destroy your life every time you choose.
But maybe you won't know for 20 years
and you may never, ever trace it to its source.
And you only get one chance to play it out.
Just try and figure out your own divorce.
And they say there is no fate,
but there is,
it's what you create.
And even though the world goes on for eons and eons
you are only here for a fraction of a fraction of a second.
Most of your time is spent being dead or not yet born.
But while alive, you wait in vain
wasting years
for a phone call or a letter or a look from someone or something to make it all right.
And it never comes,
or it seems to, but it doesn't really.
So you spend your time in vague regret
or vaguer hope that something good will come along.
Something to make you feel connected.
Something to make you feel whole.
Something to make you feel loved.
And the truth is
I feel so angry.
And the truth is
I feel so fucking sad.
And the truth is, I've felt so fucking hurt
for so fucking long.
And for just as long, I've been pretending I'm okay
just to get along,
just for--
I don't know why.
Maybe because no one wants to hear about my misery
because they have their own.
Well, fuck everybody.
Amen.
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考夫曼愛玩弄結構，在變腦裡是迴圈般的空間，在王牌冤家裡是重複經驗的夢境與記憶，到了這部自編自導的解構紐約，再加強了超現實時間感，空間方面以劇場佈景過渡到大型建築佈景來重度錯亂隱喻與現實的界線，甚至連第一人稱述敘觀點的詮釋與被詮釋的敘事結構都可打亂變換。然而，儘管採用如此複雜又曖昧的結構，卻仍能發展出失控的秩序，像是金屬的結晶體，獨有凌亂而美麗的節奏。
總是有一個苦惱的主角，為某件他自己也難以自問的難處而莫名慌亂。這種神經質的疲勞怪異地溫馴，像是已經內化成生存的底層，很像一天早上做了個夢還未清醒，卻仍必須立即去執行各樣的工作或計畫。於是他便一整天拖行在對夢境（思維）的追想與被生活（現實）追趕的脅迫中，對生存本質探究之欲望的觸覺如此日復一日地遺失與拾回。這個抽象的對探究的欲望與疲勞，被具體地以錯綜複雜的重建空間，和迷途般的行動實踐出來，隔著錯亂時間感所造成的距離，在永無休止的重複與鉅細靡遺的過場間竟慢慢摩擦出類似讚揚的溫度，幾乎像是神聖的。
總是有突兀的結尾。主角老了，賴以行動的生命力與他命令搭建的佈景同步凋零，回歸於無，電影文本的人造語言卻像是倉卒罷工的堆高積木橫豎成塔，懸而未決，搖搖欲墜。劇終，語言嘎然而止，留下的是面對生存，人的欲望不息的張力。”I know how to do this play now.”他留下這最後的古怪的欲望。儘管他的生命可悲，但這是他賴以實踐生命的方式 ，他的生命也賴以維持。
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感想：片名應該改成［正宗！蘭花賊續集！］ 考夫曼你這個神經病！！！！
我好像很習慣將電影主角一物當作完成品去理解以及審美，而不會去想它身為"一個人"的功能失調這種事情
台灣譯名［紐約浮世繪］很不賴，浮世繪三字語意聯想平民百態，日常瑣事
也可做美學聯想，一種平面的二維的裝飾性圖畫......
菲力浦西摩霍夫曼很可愛
太可愛了!!! 想不到你竟然可以可愛到像布萊德彼特(的小孩) !!!!!!
Der freie Wille (2006)
