A much appreciated satire, hilarious and thought-provoking, recommended by Mark Fisher in his essay "Capitalist Realism". Mike Judge, the director & writer of the original animated material, makes an accurate depiction of daily life at work in a service-oriented corporation. The obsession with layoffs, the quotidian harassing by the boss, the absurdity of bureaucratic demands, the boot-licking of the submissive faction VS the fear and hopelessness of the rest, and even the most mundane details (esp. the constantly defective copy-machine) hit home. Much material indeed for social commentary. The most striking is the tyrannical order of EXPRESSING YOURSELF, a revelatory contradiction.
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蔡明亮在電動玩具遊樂場裡發掘的非職業演員李康生及騎著摩托在臺北西門町中華商場及周邊閒晃的阿澤兩人日常生活的平行剪輯組成電影敘事有趣的是阿澤家水的流動性與小康家空間的封閉性兩者對立的狀態他们却幾乎是時時刻刻都在尾隨著彼此 影片最能體現這種私密性和疏離感之間辯證關係的或許是電話交友中心這個場所代表着空間的游離性以及求爱经验的物化跟電動玩具場類似把不同的個體聚攏在一塊且能促成人際互動的想像、理解方式對於苦涩孤独的青少年來講妈祖电影是用以回應私人渴望的實踐 這種疏离感的呈現里甚至連衝突亦是分開的當阿澤和阿桂正在旅館發生性關係時小康偷偷刺破他的摩托車胎再把瞬膠灌入鑰匙孔用黃色噴漆在車身噴上「手不安分地探入森林」直接指涉彼時社會的艾滋病恐懼而後地上「人妻JAPAN HD XXXX VIDEOS」成個運命的記號