Emma Thompson的每一次演出都很精彩第一次对她有印象是在Love Actually里面那个委屈而坚强的妻子这一次细水长流岁月静好的Elinor给女同学当厕所奴终于获得了幸福
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A free-wheeling pinku homage to Rear Window may seem a surprising start for Kurosawa, but it establishes a lot of the oddball charm that would later find its way to wonders like Doppelganger. Even if not much coheres—the leads’ characterization remains as flat as any pink film—it’s such a spirited, brisk romp that there’s little reason to complain.