The little old man is still unable to get rid of the tendency to become more and more commercialized. This reminds me of a discussion with a friend about the lack of depth in the works sold by a Czech painter who is still in his 50s and still in high spirits (in fact, many of his works have depth), and my friend said that the reason why he is in high spirits is because of commercialization. If you blindly indulge in the metaphysical artistic creation of the superego, the ending will be nothing but poverty or poverty, isolation, or mental depression. In short, you will be imprisoned by your own absolute idealism and romanticism until your feet are off the ground and eventually fly into the sky and become a bird people.
So having said that, commercialization is not so heinous. Maybe many Western media criticized the film too much to regard the little old man as a born artist. But I have loved the little old man for so many years precisely because he used the way of appearing to be born in fact to be ironic about the birth. The little old man is smart. No matter how big the metaphysical discussion is in his films, after watching it, you will always feel that you have to return to real life.
No matter how the male protagonist packs existentialism with incisive words and idealizes his amoral motives, he still has to fall into the eighteenth hell (or from the elevator) in the end. This kind of incisive irony can only be done by the little old man. From the black to a certain level, the little old man knows how to play with the rule very well, so criticizing the little old man's commercialization tendency is a slap in the face. He has always satirized too metaphysical things.
Personally, I think this film is not the best, but upholds the consistent standard of the little old man. If I really want to be picky, I still think that the heroine is wrong. There are too many stories in Emma Stone's big eyes.
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