David the filmmaker is 40 years old, but he still doesn't feel like a man - not a real man anyway. When his wife becomes pregnant with a boy, David's manhood insecurities deepen. How can he bring his son into manhood if he feels so estranged from his own? This question sets him off on a quest for his manhood that leads him from voice lessons to a men's group to deer-hunting, an...
不同于《美國麗人》那種帶有諷刺和暴力的決裂,或《迷失東京》的曖昧疏離,《我是真男人》選擇了一種極度私密和內向的視角。它不向外歸咎于社會或婚姻,而是向內挖掘個體心理根源。這種“治療式”的電影語言更接近心理咨詢過程,觀眾像是在旁聽一場漫長的自我對話。對于厭倦了外部沖突敘事的觀眾來說,這種向內的探索提供了新鮮的觀影體驗。
最后拍攝者跟自己和解了,挺感動的。他一直覺得自己變成這樣是爸爸的錯,對父親怨恨
做一最低配的男人也挺好的,至少頭發還在!
一個感受,任何乏味做作的人類個體,極有可能是 在”向他人證明自己很出色“的道路上迷失【。
諾頓的片呦
角色設定過于單一,缺乏深度和層次感,難以引起觀眾的共鳴。
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