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　　（转自IMDB） 　　Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespear Junior the Fifth to restore the lost artwork of the human race. He finds strange goings-on at a resort enough to remind him of all the lines of the play, dealing with mob boss Don Learo and his daughter Cordelia, a ...
Lear is about sight and truth，and how devilish charms (derived from the audience's participation and perception) bend sight and truth。So it (and the similarly placed `The Tempest') are naturals for fi...
She didn't say nothing. She said:"Nothing.No thing."《李尔王》的影像读书笔记：被切尔诺贝利核泄漏摧毁的文明需要重构，将声画光影从故事中剥落，角色模仿着写书人，梅勒女儿有着三个父亲，二十世纪前半叶纽约黑帮史和伍尔夫《海浪》乱入，伍迪艾伦最后几分钟才露面一脸梦游走错片场状……戈达尔一贯的不知所谓，挺好
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呵呵呵呵呵呵呵呵呵呵呵呵吼吼吼，真是魔性啊明明一边吐槽“什么鬼”一边一个下午就这么看完了，打碎所有结构其实也还蛮新奇的，编剧那栏莎什么比亚呀根本是串烧
身处切尔诺贝利时代的莎士比亚虚构后裔，去寻访先祖曾经历的困苦时艰，尝试得到灵感之神缪斯的垂青。然而这些先锋的影像与构思，不过是导演与灵魂对话的呢喃低语。去解读私人密语显然是徒劳的。且此片之于伍迪·艾伦，意义非凡。李尔王厌弃了电影为载体的艺术，然而她终会绽放隽永。

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