我很在乎

8.6分 就是要给高分，尽管槽多无口。

这绝不是个完美的电影，但是有时候我们也需要这种不可思议的、极富戏剧张力的、并不完全符合逻辑甚至不现实的情节，它们精彩，无比精彩。

而沉浸在文艺的世界，沉浸在韦斯安德森绚丽的布景，斯皮尔伯格精妙的镜头调度和诺兰炫技般的结构设计中的我们，好像已经忽视了精彩才是电影的必修课。

而《我很在乎》，这样一部小众而荒诞的电影，却忽然点醒了过去追求逼格的我。

这2个小时给了我前所未有的观影体验。

女主的形象非常非常丰满，你可以说她不讨喜，但是你不能说她没立住。

裴淳华实力圈粉，当初看《消失的爱人》，她的熠熠光彩被更牛逼的剧本遮掩了，只能说是锦上添花；而这一次是她力挽狂澜了这个逻辑混乱，“三观崩坏”的剧情。

无数的特写镜头，怼脸炫演技，不管多扯多炸裂的剧情都能完美hold住，从眼神到举止，都无可挑剔的精准演绎。

目前的20年最佳女主角没有之一。

看了一些差评的评论说“不够爽”，说“恶人受得惩戒太少了”，说“导演抓错了爽点，应该多给女主一些教训”…我感觉很奇怪，于是重新审视了一下自己的三观……发现………我确实还挺变态的。

首先我严重同情弱势群体，严重到甚至有些滥情。

所以片头看到这样一个一辈子独立，坚强，成功的老太太无缘无故被marla盯上，又被迫送到“监护院”，断绝和外界的一切交流，被掠夺财产，余生一片荒芜时，我对marla产生了强烈的反感，和大多数观众同样等待着她报复的到来。

然而当剧情一步步推进，marla变成了浮萍一般的弱势群体，老太太背后有强大的黑帮靠山，他们可以随时闯入监护院，随时对marla和她的同僚进行攻击，这个时候我的阵营便开始动摇了，即使她做了无数伤天害理的事情，即使她是个自私的人渣，还是不可避免地希望她无恙。

就怀着这样矛盾的情绪，电影来到高潮，医生被杀，marla和她的漂亮女朋友人心惶惶，准备逃离时，却被黑帮抓住。

该怎么说呢，此前的剧情中规中矩，难说有多精彩，但是仍在掌控之下。

此后的剧情是彻底的放飞自我，各种雷点纷涌而至。

marla被小矮子绑在椅子上，用塑料袋勒住脑袋时，我好像也感到一阵窒息，代入感强到可怕。

此刻裴淳华的演技爆表，瞬间让我对女主的感情产生了巨大变化。

我个人非常崇拜目标明确，用尽一切手段达成自己目的的人，为此我可以接受一定道德感的丧失。

女主和小矮子表达自己对死亡的态度，毫不避讳自己对金钱的渴望，毫不遮掩自己巨大的野心。

就连小矮子也为之震颤了一瞬。

而我则彻底被她征服了。

也许换一个人，但凡换成裴淳华之外任意一个演员，也许都做不到她这样澎湃的魅力表达。

她可恨，虚伪，但是她无比坚定，冷酷而强大的灵魂成为了她最犀利的武器。

什么叫无脑爽？

marla死里偷生，从水中逃命，随后一系列并不理智但成功完成的复仇计划叫无脑爽，这一段不评价，其实编剧的处理很低级，但是怎么办，我喜欢。

一颗永远不迷失的内心，即使是丑恶的，在我的眼里也是动人的。

还没看就被剧透了结尾有巨大转折，我大致猜到了是女主阴沟翻船，在片子最后十分钟还有些抗拒这一刻的到来，也许结束在她成功的一刻变圆满了。

但是我万万没有想到居然会是片头的那个“怂货”终结了marla传奇的一生，那一刻，我感觉她受到了应得的报应，死得其所。

换言之，也许只有这个人杀了她我才会觉得她是死得其所。

不得不让人惊叹于设计之巧妙。

尽管如此，这并不代表我不敬畏marla的一部分品质。

带着一点震撼，一点释然，一点感慨和无数惊喜，影片结束了。

这个题材选的太牛逼了，牛逼到即使它其实立不住，还是能让我投入其中。

我突然想到，如果要是找中国一些导演来拍这个题材，拍的不这么极端，添加更多的喜剧元素，也许它会大受欢迎，但是不复这样的震撼。

我喜欢这部电影就像现在所存在的样子。

I love《i care a lot》a lot.

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

如果最后她不中那一枪，天理何容。

【首发于公众号 写作疑难杂症诊疗室】I Care A Lot 一句话影评： The storytelling is so good, acting so good, until you realize the story is so … 三观不正 😤 If you are intrigued by Rosamond Pike’s unfeeling, first-rate psychopathic smart bitch in Gone Girl, then you will watch I Care a Lot as soon as you have the chance. Well, that’s what I did. And it was the first movie I watched in 2023 — by Jove, how it angered me. Two minutes into the movie, it is living up to the poster’s promise of badass-ness. Pike plays Marla Grayson, who does the voice-over in the opening monologue synopsizing her worldview: this is a world of either winners or losers, predators or prey, lions or lambs. Black or white, no middle ground. An all too familiar worldview to the point of hackneyed, but Pike’s delivery, her cadence, is top-notch. In this strictly dichotomous world, Marla declares: “I am not a lamb. I am a fucking lioness.”Suspense is a foundational trick to hold the audience’s attention. The opening scene does this by the discord between what you see on the screen and what you hear. You hear Marla briefing you on her Ayn Randian philosophy (which has a lot of avid supporters in the far right, something to keep in mind when thinking about why the movie is terrible), but you see images of an orderly care facility where the staff seem attentive to the elderly, and then a disheveled, chubby man trying to break into the facility, only to be quickly seized by some brawny guards. If you are minimally familiar with the science of storytelling, you know that suspense helps to release dopamine, the so-called happiness hormone. When you anticipate a reward, in the case of storytelling, when you expect that everything will be accounted for by the end of the movie, your brain produces dopamine. This opening scene is your first shot of dopamine. The next scene quickly explains what is going on. We are now in a courtroom. Turns out, the mother of the disheveled man, Feldstrom, is in the care facility, to which he is denied access. The court appoints Marla as his mother’s guardian, giving her license to deny Feldstrom visits to his own mother. Marla is also entitled to sell the mother’s house, car, valuable belongings and then use the money to pay herself for her service as the court-appointed guardian. If this sounds crooked, it is. Feldstrom adds that Marla is a total stranger both to him and his mother, and his mother has explicitly said that she doesn’t want to be put in a care facility. Just when you think Marla is the bad guy in the story, here comes the twist. Marla defends herself, first by portraying the son as irresponsible: “Your mother couldn’t cope on her own. A doctor diagnosed her with dementia, Mr Feldstrom, and wrote an affidavit recommending immediate action be take for her safety. You have amply opportunity to move your mother into a care facility or into your home. You did neither.” When parents abuse or for whatever reason can’t take proper care of their children, we think it reasonable for the government and the judicial system to step in. The same goes to elderly who aren’t properly cared for. So far so good, Marla seems reasonable. When Feldstrom objects to Marla’s accusation by saying that her mother begged not to be taken to a care facility, Marla makes a clever distinction: “You can’t care for her by doing what she wants. You have to do what she needs. And that is why I can care better than a family member because I have no skin in the game. … yes, I oversaw the sale of some of her assets to finance [her bills in the care facility], and yes, I pay myself, too, because caring, sir, is my job. … All-day, every day, I care.” You have to admire the concision in her speech, her dazzling use of differentiation, addressing counterargument, and appealing to ethos. And it makes sense. Kids surely want all the sugar they can get and more. But that’s not what they need. The same logic applies to those with dementia. Marla becomes less the greedy predator preying on the vulnerable, and more the strong-willed businesswoman who does what might seem ruthless but necessary. She continues: “I care for those who are in need of protection. Protection from apathy, protection from their own pride, and quite often, protection from their own children. … offspring, who are willing to let their parents starve in squalor and struggle with pain rather than dip into what they see as their inheritance to pay for the necessary care.” By this point, we begin to suspect that Feldstrom is actually the greedy one. At the same time, Marla’s argumentation is so tactical, the intonation so calculated, that it just lacks authenticity. You can’t be entirely sure: is Marla a good guy, or a bad guy? There, uncertainty over the main character — you have your second shot of dopamine. With questions like this, we keep watching. Mind you, this is only less than seven minutes into the movie, and Feldstrom has gone from being the bad guy to the not so bad guy and then again the bad (in the sense of incompetent) guy, and the ruthless Marla with her problematic worldview becomes a respectable professional. 这么紧凑的人物翻转制造了「爽剧」的效果。

不得不佩服好莱坞故事产业的成熟。

The next scene, we see Marla Grayson walking down the stairs outside the courthouse, with full-on badassery. Feldstrom comes after her. He is wearing a red cap again. Looks like he can be a Trump supporter. And he’s calling her “bitch.” He’s in a rage. Words are flushing out of his mouth: “I hope you get raped, and I hope you get murdered, and I hope you get killed!” And he spits on her face. His vulgarity is complete. But his anger also makes you think that he’s truly the victim. Feldstrom is surely an uncivilized, undereducated person for losing his cool like that, but … it could be you — you may have said something similar on social media, in response to some monster doing something flagrantly dehumanizing… Again, you are not sure whether Marla is the good guy or bad guy, and therefore you are not sure if Feldstrom’s outburst is justified. And here comes the problematic part. Marla takes off her sunglasses and looks ferociously into Feldstrom’s eyes: “Does it sting more because I’m a woman? That you got so soundly beaten in there by someone with a vagina? Having a penis doesn’t automatically make you more scary to me, just the opposite. You may be a man, but if you ever threaten, touch or spit on me again… I will grab your dick and balls and I will rip them clean off, you understand? I’ll tell your mom you send your best.” This is a calculated move to make the female audience feel so good, no? You had been belittled at least once, so indelibly, just because you are a girl/woman, and this is exactly what you wanted to say to the offender had you had the guts (which you didn’t). So hearing Marla say that so collectedly just makes you feel wonderful. If you feel that way, that’s due to something called mirror neurons, “brain cells that fire not only when we perform an action but when we observe someone else perform the same action.” 看节目主持人在享受美食的时候，自己也馋了，即使你的理性告诉你那不是真正的食物，而是像素构成的幻影。

But how are men reacting to the scene? Could be something totally different. It could frighten the male audience. When you feel threatened and stressed out, you also become more focused. Scientists have long discovered that even when we don’t face a direct physical threat, as long as we begin to imagine those threats, we get stressed out, and thus more focused. You can identify with Feldstrom and feel intimidated by Marla. Or you can feel frightened for Marla in anticipation of Feldstrom’s fightback. Or, it can be that the masculine part of you feels threatened, and the feminine part of you feels elated. If you can simultaneously feel these two things, oh boy, you are getting the optimal experience. Cortisol is the attention hormone, and oxytocin the bonding hormone. Cortisol combined with oxytocin can give you the experience of transportation (“transport” in the sense of being overwhelmed “with a strong emotion, especially joy”). The second time watching this scene, though, I just rolled my eyes at Marla, because in the next eighteen minutes, the good-guy-bad-guy suspense is completely resolved. The next eighteen minutes show you how Marla capitalizes on the loopholes in the medical and legal system, how she takes advantage of the human weakness of automatically following orders and trusting authority figures, how she preys on those with insufficient legal resources, and what she claims as “care” is actually just grift. As in Gone Girl, Pike once again plays the female villain character in I Care A Lot. Only this time, her character Marla is a lesbian, which frees her from the obligation of playing along with the modern, enlightened men’s fantasy about modern, enlightened women. Marla can express her contempt for men explicitly, whereas in Gone Girl the Cool Girl Amy has to convey her contempt through elaborate schemes. It is really worth the while to revisit the famed Cool Girl passage in Gone Girl, for those too young to have watched or heard of the film:That night at the Brooklyn party, I was playing the girl who was in style, the girl a man like Nick wants: the Cool Girl. Men always say that as the defining compliment, don’t they? She’s a cool girl. Being the Cool Girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes, and burping, who plays video games, drinks cheap beer, loves threesomes and anal sex, and jams hot dogs and hamburgers into her mouth like she’s hosting the world’s biggest culinary gang bang while somehow maintaining a size 2, because Cool Girls are above all hot. Hot and understanding. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl. Men actually think this girl exists. Maybe they’re fooled because so many women are willing to pretend to be this girl...Oh, and if you’re not a Cool Girl, I beg you not to believe that your man doesn’t want the Cool Girl. It may be a slightly different version—maybe he’s vegetarian, so Cool Girl loves seitan and is great with dogs; or maybe he’s a hipster artist, so Cool Girl is a tattooed, bespectacled nerd who loves comics. There are variations to the window dressing, but believe me, he wants Cool Girl, who is basically the girl who likes every f***ing thing he likes and doesn’t ever complain. (How do you know you’re not Cool Girl? Because he says things like “I like strong women.” If he says that to you, he will at some point f*** someone else. Because “I like strong women” is code for “I hate strong women.” Gone Girl is invested in the plight of contemporary women, while I Care A Lot is not — the pseudo-feminist things Marla says only bring cheap gratification. Cool Girl Amy’s transgression consists of framing men for stalking, rape, and murder, of putting men to social death and behind bars. But Marla’s seeming transgression of heteronormative sexuality is only a masquerade for her real transgression: her subscription to a macho capitalist logic. Let me quickly sum up the rest of I Care A Lot. Marla collides with a doctor to induce signs of dementia in a rich old lady. Then Marla becomes the legal guardian of that rich old lady, Jennifer Peterson. But Jennifer turns out to be the mother of a super rich and powerful Russian man, Roman, whose business includes human trafficking. Roman kills the doctor and makes it look like suicide, in an attempt to frighten Marla into forfeiting her guardianship on his mother. Marla remains undaunted. So Roman tries to kill Marla, and fails; he tries to kill Marla’s girlfriend Fran, and also fails. The two failed attempts are irritating, I know, because they just make the story implausible. And it gets more irritating. Set on go big or go home, Marla gets back at Roman, and succeeds: she miraculously becomes Roman’s legal guardian, and puts a $10 million price tag on Roman’s freedom. Here comes another twist. Roman proposes an alternative to the $10 million: “Instead of me giving you $10 million… we become partners, go into business together. … I hate you… but, oh, the money we could make. You’re a rare person, Marla. Your determination is… Frankly, it’s scary. But this guardianship grift, it’s ripe, but right now it’s small potatoes. I propose we create a monster… a countrywide guardianship corporation, with you as CEO and co-owner. Use my money, use your… skills. Destroy the competition. Take control of the entire market.”Yes, the two persons that for the most part of the movie try to kill each other become business partners at the end! Two absolutely depraved capitalists joining forces! 没有永远的敌人，不要跟钱过不去 — 这是整部电影的底层逻辑。

The director/scriptwriter must have this twist, which veers the theme of the movie toward the triumph of capitalism, to sustain audience engagement and achieve its own capitalist, commercial success. Obscene!And brace yourself for the most f**ked-up part of the movie. Marla accepts the partnership and achieves CEO of a publicly traded company level of success at the age of 39. She just finishes a TV interview and she’s walking to her car. Feldstrom walks up to her and fires gunshot at her heart. Feldstrom never gets to see his mom and his mom just died alone in the care facility. So he shoots Marla in the heart. This time, Marla completely fails to fire back with words. It is implied that she is killed on the spot. I was screaming (in my head) at this point. A f**king greedy, immoral capitalist, empowered by another wealthy, immoral capitalist, unstopped by the court and the government, or rather, aided by the incompetent people in the legal system and corrupted doctors, only to be killed by an incel kind of guy? The only effective solution to ending injustice and capitalist avarice is pure gun violence in the most American style? As the closing credits music begins, I was yelling in my head: NO! That CAN’T be how the story ends! Movies are supposed to satisfy viewers’ deepest fantasies, and this one does not satisfy my fantasy that justice can be restored through nonviolent, rational means, through legal measures, and through investigative journalism. After all that shit that happened in 2022, after all those people that disappeared, this is the last movie I needed. I wanted movies to represent messy reality, not this kind of bullshit fairytale. I was so angry that I even began to suspect the director/scriptwriter is some sort of closeted Republican incel funded by far-right groups. I realized I needed Spotlight kind of movies. After watching the movie, I spent an hour watching videos about Elizabeth Holmes.

首先，很可怕的世界，居然在受害人未到场的情况下，法庭可以宣判剥夺一个人的自由，以及它拥有的一切都随着被抢占。

类似于“被神经病”。

如果我们经历这样的世界，该如何？

但是想想好可怕。

我在想，如果世界到最后，可能真的会如同所有的电影一样，器官买卖，器官被强制切割，财产被强制剥夺，人身自由被限制被神经病 。。。。

妈呀。。。。

不敢想象。

集合了两位我喜欢的演员还能把片拍成这样也是不得不佩服导演。

看完以后久久不能入睡，（气的）。

我花了两个半小时吃了一坨💩，半夜越想越觉得这坨💩吞的委屈，然后爬起来吐槽。

点开Netflix，首页看到这部拿了金球奖，有裴淳华，题材好像还是个绑架老人的诈骗题材？

有意思，就点了进去 -- 噩梦的开始。

“There's no such thing as good people. I used to be like you, thinking that working hard and playing fair would lead to success and happiness. It doesn't, Playing fair is a joke invented by rich to keep the rest of us poor.” 美国丽人式的开场，并不能掩盖这是部烂片的事实。

这部电影告诉我们：一个看似很牛X的俄国黑帮大佬，小弟个个都怕他，用尽一切方法，却干不掉两个没有涉黑经验的平民；反过来还轻易的被平民绑架扒光了扔路上；煤气不会轻易爆炸，会等待女主水下逃生、徒步走到便利店、叫车回来拯救她的爱人；诈骗、制药、成立养老公司，是一门有钱就可以做的非常容易的生意。

反转不一定是让观众惊喜意外的方式，还可能是喂进观众嘴里的一大坨💩：前面开挂一样的女主，在将走上人生巅峰的时刻，被开头看着很懦弱的路人一枪解决了...电影以女权为宣传点，但是女主角从头到尾没干一件让我觉得女权支持的事情，演员光环加持都无法掩盖我对这片的厌恶，黑吃黑好像更合适。

用puppet一般愚蠢的男法官，油腻的男律师，没脑子的男杀手，手段不怎么样的男黑帮，来显示女性的看似聪慧强大坚韧，实则让我感觉受到了侮辱...并且开头女主利用女性的zzzq来颠倒黑白也让我觉得无比的恶心。

电影心思太多，现实、喜剧、惊悚、犯罪、女权，通通都想要，但是最后却搞出来哪个都不沾边的四不像。

建议以后奖项向肖邦奖学习，评不出来就空着，不要强行喂观众吃💩。

即使是演技类的奖项，能不能剧情起码也看得过去...不过如果这样的话，有些奖是不是就可以直接取消了？？？

短评写不下，所以写在这。

电影很有意思，提供了多个可展开思考的角度：1. 女主通过金钱和人际运作合法却不合道德地为一己私利迫害老人这件事，要多缺德有多缺德；2. 女主在靠近结尾处说的话「你要认清自己，知道自己是什么样的人；什么界限是你愿意突破的；你愿意付出怎样的代价」（印象中的大意）很有意思。

我们不妨静下来思考下自己的答案。

另外，我隐身想到一个话题：你认为，所谓「成功人士」是都遵循道德，严谨地在某个界限内行事吗？

还是你相信他人的「致富」之路也突破了某些道德底线，但是他们「交了好运」，没被发现呢？

对待2中所有问题的答案体现了我们作为不同个体的本质性差异。

3. 女主和女朋友确实是传统意义上的反面角色，i fucking hate them，but they're true to themselves。

两个人（女主更甚一些）对自己的欲望绝对坦诚，不会承认自己的错误，绝不接受失败，无论道德对错、前因后果，谁阻碍她达成目标就拼死与其搏斗——倒也是一种垃圾性的带有自知之明的英雄主义了。

4. 「你愿意付出怎样的代价？

」是一个有意思的话题。

女主在旁白中说到过，她要「保护自己爱的人」，我想她指的是保护女友Fran了，但是最终Fran看着她的生命在怀中渐渐流逝，在两人本以为生活大好，万事峥嵘时，一切破灭。

So, after all, karma is a bitch, right? 或许在女主表示对自己所爱之人的在意时，太轻而易举地忽略了，每个她迫害过的老人也是他人所爱之人。

所以， 当你愿意突破一些界限时，早就失去了对你将付出何种代价的选择权。

5. 我认为弱化罗曼一帮的战斗力是导演故意设计的，为了让我们觉得女主一直在交好运，也给她个偶然的机会把事业做大，特意让我们看到这位野心家能爬多高，摔多惨。

以上。

第一步：没有女性主要角色，比如《嗜血五人组》《芝加哥7个人》《迈阿密的一夜》此处可以罗列无止境的电影名单，没有女性角色，完全消除男女对立。

第二步：加一些无关紧要或者专门展现姿色的女性角色，你们看，女的就是花瓶《曼克》《好莱坞往事》《爱尔兰男人》此处可以罗列无止境的电影名单。

第三步：总有些头铁的制片人要拍女性主角的电影，那就给这些电影贴上限定标签，影片的质量有限，《隐藏任务》ZZZQ，《某种女人》女权主义自嗨，《卡罗尔》女同性恋电影，《小妇人》小妞电影《伯德小姐》小妞电影2，此处可以罗列无止境的电影名单。

第四步：把失败的电影归咎为女性，神奇女侠辣鸡，女导演拍超英果然不行，蝙蝠侠大战超人辣鸡，噢男导演啊，他虽然故事讲的一般，但滤镜用的好啊，他虽然节奏头重脚轻，但BGM选的好啊。

他虽然把蝙蝠侠拍砸了，但是超人帅啊。

那为什么救狗不救爹？

第五步：女性主角的电影，女主很正派，男性角色很出彩，故事题材宽泛的怎么办?尽可能忽略或者扭曲女主的存在感。

《疯狂的麦克斯》大女主电影，但是男导演噢，汤老师好帅。

《蓝调天后》黑豹黑豹黑豹《异形3》把女主角放到男子监狱，火火恶心死她《后翼弃兵》女子天才，不谈恋爱，心中只有象棋，但是她到底爱哪个男朋友啊，哪个男人对她最重要啊，哈利表哥好帅啊（其实很丑）托马斯娃娃脸没有变化啊，第108遍刷屏问她爸呢？

她爸去哪了？

第108遍刷屏我觉得最爱她的就是老校工（男）第108遍刷屏女人根本没有拿过世界第一象棋大师。

第六步：女性主角的电影，女性角色光芒万丈完全吊打所有人，剧情节奏流畅，摄影画面有个性，BGM每一首都是精品，而且没有和男人有一丁点感情戏，无法把焦点转移到男性身上，那怎么诋毁她？

说她这个角色有道德瑕疵？

电影角色有道德瑕疵能影响电影质量吗？

《猫鼠游戏》男主角一路骗到老的人生赢家 9分《香水》专门奸杀少女的变态男，艺术 8.5分《绝命毒师》他虽然贩毒但他是个顾家好男人啊 9.5分《沉默的羔羊》先杀后吃的天才，膜拜 8.5分《华尔街之狼》天台跳楼传送家，好帅哦8.0分但是《我很在乎》的女主角玛拉没有杀人啊，她还差点被杀，怎么诋毁她？

她没有直接杀人，但可以夸大一点就说间接害死，她还骗取老人的财产，那不是法庭判的吗？

和法庭联手一起坑害老人，有证据吗？

没有，夸大一点就行了。

但这就算足以构成道德瑕疵，也不能打低分吧《寄生虫》里面穷人一家埋伏进富人一家，比这严重多了，也没影响电影评价啊？

上面提到的男主角都有重大犯罪记录，不影响电影评价啊没那么复杂，是女主角打低分就完事了。

第七步：电影结构完美，题材宏大（不是儿女情长，是战争存亡）风格硬朗，没有男女主角藕断丝连的电影来自凯瑟琳毕格罗。

女主角一身肌肉，徒手撕怪兽，全船都死了，她还活着，异形2，西格妮非佛。

没有诋毁角度的时候，该怎么办？

那就赞扬她，像男人一样厉害！

关于电影界如何围剿女性势力，如何一步步蚕食女性成果，是值得写一本书的事，我没有特别去查什么资料，只是随意回忆了看过的电影，不扯太远了回到本片。

男性嚣张，那是自信，女性嚣张，实属恶心，尤其是她绝对不是那种慈眉善目，低声下气的圣母，保姆，她也不是为了照顾别人的爹妈呕心沥血的穷逼。

她生活富裕，感情美满，长的漂亮，性格还很嚣张，这样的出场基本上刺痛了每一个无产阶级孝顺儿子的心，一个女人如此高高在上，居然是个刻版印象化的强者，不仅男人如坐针毡，连部分女德观众都感到彷徨和不适，她比我牛逼，使我的存在毫无价值，让我来骂她的这种心态在评论里比比皆是，女人越高兴越厉害越强悍，就越让男权女德感到刺眼扎心，自惭形秽，恨的牙痒痒，不知道的还以为是他们的养老纪录片。

但玛拉是个职业监护人，她的存在就是为了对付这些占据主流舆论不愿意给父母养老的孽子们。

电影一开始的法庭戏，言简意赅的交代了这个养老机构是怎么一回事，玛拉作为职业监护人，她不是无偿的，她有薪水（理所应当吧？

），并且她也明确指出了为什么需要法庭来判定老人要不要被监护，财产为什么由监护人来处理。

法庭上的那位儿子，他根本无力照顾生病的母亲，也不让他妈去医院接受治疗，在父母的财产交给机构打理用来支付她们的医疗费用和交给孩子打理，拒绝给父母治疗的两者之间，大部分观众都代入自己是孩子，选择了后者，但我们知道已经有越来越多的老人把财产留给可靠的人，而不是有血缘关系的亲人。

玛拉给每一位老人最好的服务，并且衷心希望他活的长寿，这当然不是出于共产主义式的理想，而是

谁想住进养老院的老人赶紧死掉，反正肯定不是玛拉，她比谁都想要大家的爸妈活下去。

接下来，是本片的真正反派主角珍尼佛彼得森和她的好大儿。

70年前盗取真正的珍尼佛彼得森的身份，贩卖妇女的俄罗斯黑帮，罪恶滔天，人人得而诛之。

时间对每个人都是公平的，年纪大了各种病就找上来，失忆，精神恍惚，此时能指望一年见一次，自身都难保的黑帮儿子吗？

他们是怎么对付玛拉的：俄罗斯黑帮杀了医生凯伦俄罗斯黑帮把玛拉连人带车推进河里俄罗斯黑帮把fran揍的半死，打开了煤气

即便如此，女主玛拉也没有直接杀死珍妮弗彼得森，虽然她死了，但她死有余辜，是这么多年的报应，绑架了黑帮好儿子，也仅仅是弄晕了扔在路上，后来还监护了他。

从头到尾玛拉做错了什么？

错在她没有女德吧。

本片的主旨是在挑战传统的养老格局，但显然挑战失败了，因为观众是那个一年见不了几次的儿子们是那个老人生病了也不愿意花钱治疗的儿子们是不能支配父母的财产的儿子们没有人会去观察电影里的养老院真的很高级，当出现外部闯入者的时候，保安护士的反应训练有素，这都无关紧要，反正不会让父母去住，因为真的太贵了！

老人老了，去什么养老院，生老病死是人间常态，早死早超生。

全片最惨的两个人，被揍的鼻青脸肿

最美不过和你在一起

I can't say goodbye!!!最后奉上真实案例：1.中年女子68岁，按道理说年纪没有老到不能自理的地步，一年前因为一次摔倒有轻微中风的迹象，但没有得到及时治疗，现在基本已经不能自主行动，只能靠轮椅，说话口齿不清，基本缺乏正常交流。

她家人没有虐待她，只是靠近她的时候全身散发着几个月没洗澡的臭味，大冬天零下气温只穿一件单衣，手镯因为手腕肿胀已经嵌进肉里，没人发现。

按照影片的设定，她完全可以由政府变卖自己的财产，获得必要的护理，但实际上亲人养老就是不饿死你，其他都没了。

2.老年女子86岁，前几年也经历过一次摔倒，尾椎有骨裂的情况，医生建议手术，但她家人拒绝，理由是她年纪太大做手术太危险，一直靠强忍坚持下去，后来也终于无法动弹只能靠轮椅。

去年搬进一家高级养老院（和电影里的很像）医生每天都会来检查身体，开药挂水，一个月后被儿子带走了，因为嫌弃医生乱开药，费用太高，搬去了另外一家没有医生的养老院，我去看望的时候，她说之前医生给她开的药让她睡的很好，而且骨头都不疼了，挂水补充的营养让她精神很好，而现在什么都没有了，终于能躺在这边的养老院，自由的等死。

昨天终于安安静静看完了《我很在乎》，后半程全程高能，女主一系列艺高人胆大的骚操作令我叹为观止，啧啧称奇，上一次看到这么有野心的法外狂徒还是在《猫鼠游戏》和《搏击俱乐部》。

正好昨天上了口腔医学导论和卫生学，讲了毒物中毒的抢救措施，我的一部分注意力放在受伤后的一系列补救措施上，很有感慨，又无限悲悯。

其一是游泳、开车，我知道这些技能能拿来救命，这部电影强化了我的这个感知，我还要去学开车的，我知道。

其二是女主自救成功上岸后发现自己牙齿掉了一颗，后续剧情她来到便利店获取物资，第一件举动是从冷柜里拿出一瓶牛奶，给了特写她把牙齿放了进去。

叫来出租车回家发现果不其然女友也惨遭毒手，应该是有毒气体中毒，女主哀嚎了两声立马镇定下来，把女友拖到通风处，因此女友也活了过来，然后就是女主争分夺秒来到口腔诊所把掉了的牙齿种了回去。

一系列操作科学规范顺滑流畅。

这个片子是可以拿来当急救宣传片的程度！

掉了的牙齿不要丢，溶液保存还能种回去！

其次是关于健身饮食，看完这个电影不久，翻到了奥普拉的自传，说她小时候都是吃自家菜园子里种植的新鲜蔬菜，她当时抱怨为什么不能像其他人一样吃商店购买的速食，后来才知道能吃新鲜种植的蔬菜有多重要，如今那几样蔬菜依旧是她的最爱。

这部剧就是在以黑色幽默讲述法定监护人这个概念。

所以女主借此一路飞黄腾达，到最后恶有恶报都没什么问题。

那问题在哪？

在叙事，在剧情的安排，在观众情绪的把握。

简单来说，就是观众看得不爽。

回顾影片过程，大部分人的爽点在于，女主被黑帮抓，以及影片结尾短短的几秒钟。

然而这两段都很短，而且都不是高潮。

一个是剧情铺垫，一个是最后结尾。

高潮放哪了？

高潮被安排在了，女主从车里爬出来，把牙安上，然后反杀黑帮那段。

爽吗？

爽个屁！

你不知道我看到女主女友醒过来时有多失望。

我压根没法跟着导演的节奏，觉得把牙安回去有多酷，潜入黑帮司机家多么勇敢。

我只觉得黑帮怎么那么蠢，小恶魔那么弱，梦回权力最后一季，智商下线，逼格全无。

那这个怎么拍才爽？

这个很简单，叙事和高潮得换过来，换成女主吃瘪，就行了。

一开始俄罗斯黑帮因为轻敌，被反咬一下，然后被女主设局举报，被警察围追堵截。

最后卧薪尝胆，趁女主大意了，没有闪之时，一套接化发。

然后还是回到女主被绑的画面，这次对话简单：女主：“你现在抓住我了，钻石也拿回去了，要杀要刮悉听尊便。

”黑帮头子：“不，我要你跟我成立公司。

”女主：“？？？

”然后接上CEO结尾。

这不比之前得痛快的多？

立意也不还在？

还有那老太太，多憋屈啊，出来时你给个煽她丫的一巴掌的镜头能怎么样？

结果搁这最后一笑泯恩仇呢？

自以为看懂就把自我解读当绝对，认知不接受就说是看不懂的垃圾，一个个是有阅读理解综合症吗世界就在那里，你是能计算出重力还是能看懂相对论知道你是人，豆瓣应该还不至于让AI来参与这么一部电影的讨论，没必要不知道是向谁赤胆忠心，宣告你有人性，问题，你知道你是人吗竟然要140个字！

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