How do you unwrap the gift, parents? It indeed seems no easier than the Navier-Stokes for many supports to raise a talent. Frank prefers protecting the child's psychological health and helping her growth in personality with empathy and affectionate environment to fully exploring her potential before finding a better balance between the two, while Mary's grandma insists that extraordinary people is doom to be away from the ordinary and tries to isolate children from any close relationship, which in her eyes is but distraction from success. Extraordinary doesn't mean abnormal, arrogant or alone, and doesn't necessarily lead to a happy life. A gift is a gift only when it's properly unwrapped.
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每个镜头都以长短不一的黑幕结尾声音却从不会停止一切谶语都隐藏在黑幕前或幕起几乎全部使用全景有很有意思的构图(开幕飞机来去;铁路旁的对回去的对话;海边抽烟)表妹无论多么日常性的语言都让人觉得她酷的不行“Who is courguy”三人足够疏离在纽约克利夫兰佛罗里达这一切就如表哥在开车驶离前问路边等公车的男人“你能想象在工厂工作吗”“但我感到难过”这种地景的转移和是否在场仍是极为类似的问题 最后一幕几乎理所当然表哥去布达佩斯朋友开车离去表妹再次回到旅馆抽烟可是“你为什么去布达佩斯”这就是电影里太多问题里的答案 另:能让人想起《摩登女婿》和《伊人》前者是因为同样用了房间—车的过程后者则是更大程度的情节相似表妹来访再寻找二者做了爱这部没有