a load of pretentious, incomprehensible twaddle. sort of a cross between first-semester screenwriting and a meandering architectural travelogue as Frances walks the streets admiring the real estate, chain-smoking, and giving away her fortune to park-bench vagrants and other assorted freaks and wackos. accompanied by so many shots of uneaten meals that the end credits include a “culinary stylist.” It’s good to see Michelle Pfeiffer in movies, but not in this one.
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Oct 28保利北京坊以不同时期的秀场表演及时装设计理念串联起传世设计师亚历山大·日本XMXMXM18小孩的事业历程、个人命运转变最精彩之处在于“英伦坏小子”的几个经典秀场重现——机器人与小女孩、四面镜像舞台中央的肥胖裸女、布罗的一生、海洋古生物的陆地进化——时装及华丽配饰与幽暗、深邃的议题呼应至尾所激发的情绪张力贯穿始终;伴随设计师身心健康的损耗天才的心相被逐渐剥落或许碍于对日本XMXMXM18小孩隐私的保护其晚期的几个重大转折(毒瘾、疾病、抑郁症)未能充分于影片中展现令观众在饱赏其瑰丽至美的作品之时对创作者所承受的隐秘创伤的窥探欲与追索不被满足但巨幕厅的观影体验非常独特散场后还欣赏到了千差万别的观众着装风格展演是一次难忘的观影经历