Joanna Hogg’s third film has been a buzz-magnet on the recent festival circuit, drawing comparisons to Haneke, Tarkovsky, Malick, Antonioni, and Akerman. A well-off, artistic West London couple identified only as D (she) and H (he) find their already tenuous relationship threatened by the impending sale of their home. Through coolly meticulous compositions and sound design, Hogg dissolves the boundaries between exterior and interior, and between architecture and inhabitant. The house itself (a glass-and-partitions modernist showpiece) truly becomes a character in the film, functioning as the couple’s child, mirror, sanctuary, prison, lover (most explicitly in D’s furtive acts of exhibitionism and masturbation), and much more.
3.5 这个导演拍的都是英国片比较少的中年中产知识分子题材，有意思的想法，但实在是太没有张力了。。。
好了，不会把时间浪费在这位导演身上了（虽然纪念品2出来之后我还是会打脸看的……）
是太考验耐心了，我最怕不细腻的慢（最惨绝人寰的例子当属《老狗》）。一段婚姻和生活可以被时间推搡着到达怎样无聊的境地，就像女主乏味的条纹衫，性爱与拥抱也无法拯救。本想中途离场的，但还是看完了它。
隐藏摄像机式文艺片。独处空间、相处空间、共享空间的三方对比。创作之上的创作。环境音运用得很有效。
