请给予

我认为请给予其实是一部表达多关心家人的亲情类电影,电影主要通过2家人的生活与矛盾,告诉了我们亲情的重要. 老太安德拉的家庭: 1) 首先是老太安德拉,她是一个90多岁的老人,在故事的结尾我们可以看到老太年轻的时候做了很多慈善的工作,但老太太是个好强的人,她不愿把自己的脆弱表现出来,一方面是她自己的性格所致,另一方面在于她需要扶养2个甥女,使得她不得不如此般坚强.但其实老太太很孤独,她内心其实很愿意和人交往,沟通,但她又故意去回避,电影中刻意穿插养老院的情节也点出如今社会这样的老人十分的多,也企盼我们多关心身边这样的弱势群体. 2) 丽贝卡有一份类似护士一样的职业,她内心善良,不仅仅对老太安德拉,更表现在对于她的病人之上,她能够理解老人的痛苦,这与她的姐姐做出鲜明的对比,这样的女孩虽然如此完美,但总伴随着较低的社会地位这样一个特点,也使得她有一个感情问题难以解决的社会问题,这点正体现出如今物质欲望横飞的社会的本质. 3)玛丽,一个受到多重伤害的女孩,因为母亲的自杀而憎恨外婆,因为男友的抛弃而怀恨男友的新欢,她内心充满憎恨,使得她选择很多极端的生活,去晒日光浴,去偷窥,去偷情等.她封闭了自己的内心,当她在追悼会上听到外婆生前的所做所为时,她的表现显出一丝内心的转变,她仿佛理解了家人亲情的那份内心的支撑作用. 凯特一家 1) 凯特是一个回收已故老人家具而转卖的商人,她总是表现出对于流浪者等弱势群体的爱,但她对于家人却显得那么吝啬.她内心很挣扎,她难以和自己的女儿融洽生活,她有时也无法理解丈夫的感受,但她有充满想要表达爱的意愿,所以她选择去做义工,选择去给予穷人钱财.但这些行为反而让她更难以得到家人的理解,但凯特是幸运的,她的工作给予她更多的机会去理解她购买已故老人家具时那些老人子女的感受,渐渐的使她理解其实为自己家人付出更多爱,比那些对外的爱更来得真实. 2)亚历克斯作为一个丈夫又兼合伙人,使得他对于家庭除了义务越来越缺少情感,所以他选择了偷情,但多次偷情后他内心产生了罪恶感,他寻问自己什么都不缺的家庭为何还要寻找偷情这份刺激,这时他明白了家庭除了义务更多的是温暖的那份感觉. 3)女儿艾比是一个对于物质极度追求而对自身条件极度自卑的女孩,为了跨越自己心里的鸿沟她不得不选择更进一步的物质,但这些又使得她与母亲的理念所背离而产生矛盾,但当她美容失败之时,她发现父母表现出的爱是那么强烈,渐渐的她理解了爱其实不是金钱所能够衡量的东西. 最后我想说,在如今我们被物质社会的阴暗面所包围的社会里总会提倡爱的奉献,但我们所宣讲的爱又总那么道貌岸然,其实爱是在点滴之间所理解和发现的,而最简单最值得我们去付出和发现的便是我们的家庭.

NYC, present day, Kate (Keener) and her husband Alex (Platt) run a modern furniture shop, and have bought the adjacent apartment of theirs, but can only have it after the current occupant, the cantankerous 91-year-old Andra (Guilbert) dies, considering her long-in-the-tooth age, the wait shouldn’t be too long.

Acquiring their accessions with a fairly low price from the next-of-kins of the recently deceased, and then flip them for a much higher price tag in their boutique shop, Kate has become growingly flustered by guilt germinated from their pecuniary profiteering, and to allay which, she is more than willing to dish out small cash (even a 20$ note when she is in the mood) to panhandlers in the neighborhood (sometimes it is embarrassingly backfires), and seeks out some voluntary works for those who are considerably less fortunate than her. But how does it work? scenester filmmaker Holofcener’s PLEASE GIVE, her fourth feature, wrestles with this question in a brutally honest manner that it is almost touching in the end, when Abby (Steele), Kate and Alex’s zit-afflicted teenage daughter can finally have a pair of jeans she craves for, all thanks to Kate’s lofty gesture of shelling out 200$.

While Kate’s problem is chiefly, her paternalistic attitude of rearing her daughter, and a bleeding heart disposition that undermines her philanthropic resolution (she cannot turn off the waterworks when facing with disabled children, and geriatric duty is left with a loose end), and Keener is a fathomless wellspring of naturalistic demeanor, pitch-perfect affect within a wide compass of emotion; Alex is otherwise simply lumped as a complacent husband who is not above to frolic with some low-hanging fruit, but Platt’s nigh-to-zero sex appeal fails to make the affair feel authentic.

On the other side of the spectrum, there are Mary (an acerbic Peet goes for the kill) and Rebecca (Hall, wondrously expressive in her more underplayed, emotive modus operandi), the granddaughters of Andra and her caretakers, both single and fancy-free, the former is a cold-heartedly blunt hypocrite (she will not admit her radiant tan is achieved from a sun-bed, but has no hesitation to be catty about everyone else’s peccadillos) and the latter is a self-effacing and warmhearted angel, but guess which one does Abby find as a cool role model to emulate? The sharp irony and unsentimental rumination are Holofcener’s claims to fame, and PLEASE GIVE is illuminating in alerting us to inspect our own contradictory behavior patterns, for that effect alone, Holofcener’s sensibility and intellect should be drawn onto a bigger scope to shine and dazzle.

referential entries: Holofcener’s ENOUGH SAID (2013, 6.9/10); Yaron Zilberman’s A LATE QUATET (2012, 6.7/10).

现在是北京时间的晚上9点一刻。我还坐在办公室里，看着华灯初上的北京，星星点点，万家灯火。 好几年前，我在北京的大学读书。记得很清楚，路过一个办信用卡的小摊子，一群中年大妈围在那里办卡，其实他们需要办信用卡，都是想要信用卡的赠品，色彩鲜艳却是免费的小垫子。那时侯我才17岁，敏感的纯洁的少女的心，咯噔一下被刺痛，自己写在日记里说，我永远都不要变成那样的人。那时侯的我，自尊姿态看的比什么都重要。 It's Been Rough On Her Age。 是的，在我那个年纪来说去理解这个世界的确有点难。 电影里，每个人都是那么难。 两姐妹，互相掐架，互相斗气，互相不肯对彼此态度温柔一点。姐姐漂亮性感，總是惡言相向，說話毫不客氣。卻也偷跑去別人的店裡，看看那個女人是怎麼贏得喜歡的人的心。妹妹木訥不動社交，年紀漸漸長大卻從沒約會過。試過一次，卻因為頭髮顏色和別人爭執。對祖母卻盡心盡力，只是因為她覺得那是唯一不多的親人。 中年男人形容和自己生活在一起10几年的妻子时，只是用partner。睡觉的伙伴，生活的伙伴，生意工作的伙伴，抚养孩子的伙伴。早就没有爱的存在。他后来形容自己的出轨说道，也许这是对的，对我的婚姻有帮助。生活对他来说不是有多糟糕，只是总是个什么时候他觉得很难。 中年女人对自己的职业感到羞耻，她无法忍受廉价收购过世人的遗物，用高昂的价格转手卖给客人。并且形容自己的店，是有品味的精選古董傢具店。她對處在叛逆期的女兒不知道如何相處和愛，卻願意對街邊那些流浪的貧窮人兒施捨金錢。換得一點點的安慰和自我釋放。 15歲的女兒，說話完全沒有禮貌。也許我從那個年齡過來，我更明白青春期也許只是想要一次任性，一次無法無天，一次無理取鬧，一次不負責任。可是，敏感的小女兒看到父親出軌，卻不想拆穿，把心事放在心底，默默轉過身去。 生活好像在每個階段都是有點難。 我以為高中畢業，我可以離開那些冷漠的老師，開始我喜歡的自由自在的大學生活。卻不知道後面有甚麼在等我。 我以為大學畢業，我有能力獨立自主去尋找我的夢想做我喜歡的事情了，卻不知道原來現實其實並不如次美麗。 我看到小女兒和媽媽吵架，兩個人互相傷害。我們或許想要的只是一次任性的機會。不要講道理，不要問原因，讓我們任性一次。 任性的傷害別人，傷害自己。不顧及自尊面子，和母親一樣在廁所哭泣，和中年男人一樣出軌一次，和姐姐一樣固執的看個究竟，和妹妹一樣有一個吻，和小女兒一樣在媽媽的懷裡哭一次。 Please give, give us a chance being ridiculous, being silly, beiing unreasonable, being weak, all the reason I wanna you to see is because I am not afraid being those me in front of you, because we are close, we are special, because we love each other.