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看着很开心，只是不太喜欢结局——本就无乱可拨，无正需反：无双不必柔情似水，常骚不必有“男子气概”，程小姐不必重为人妇。“做人老婆不如做人情妇”，停在这一句就很好。

4.5 love it, even though the line between fiction and reality is supposedly clear particularly after 2nd viewing (obviously, the execution, the writer, the attempted suffocation by pillow scene are all imaginary) , there are still lots of postmodern smoke and mirrors and humors left (what the heck with all the bleeps, what does alien abduction mean, and at the very end, is Petrov just returning home ALONE? and his house becomes a dollhouse! Has he always been alone and the entire film is his comic work?). Now the cliched praise: dashing camera, surreal transition, 3-act structure each in its own shooting style and lighting invoking distinct emotions and motifs undercutting one another.

脑中不知不觉响起了“回家的诱惑”旋律~

現實與虛構（自殺作家的小說和彼得羅夫的漫畫），夢境和回憶（彼得羅夫的回憶和伊戈爾的回憶），交織在一起，然後打亂時間線➕多重視角，如同醉酒般表達對現實的憤慨和絕望。結尾很讚，死人復活，從棺材裡爬出來重回人間，結果上了影片開頭那輛公交車，如同殭屍般的售票員一臉邪惡的笑容：歡迎來到地獄～音樂也很讚～

再不負責任也不能直接把莎翁搞成羅密歐好嗎。。。喬治六世和治療師的一面之緣特別有愛呢(喂) 烏姆里奇和羅恩他爹你們飄來飄去是要鬧哪樣！！！