日子

4月6日，有网民在豆瓣网上求看蔡导尚未发行的《日子》，一位网名“喵喵”的人随即奉上影片的下载链接，内容正是《日子》被流出的样带。

属于商业机密的私人财产为何会在喵喵的手上？

他又有什么权利进行传播？

蔡导已把他当时在网上的行为截图存证了。

有像喵喵这样行为的人为数不少，蔡导能查到的都一一存档，以备法律之需。

以时间来算，喵喵不是此样片流出的元凶，也未必是第一个把《日子》非法传播到豆瓣网的人。

影片被盗就是被盗，《日子》被盗了，喵喵是继罪魁祸首之后又进行盗窃的其中一人。

豆瓣的这些盗窃者，以敲键盘的双手和的窃书的乐趣，白拿别人的血汗作品，大肆招揽想看而寡义的影迷来看热闹，这样的猴戏在全世界都天天上演。

我不想知道喵喵是谁。

是男是女？

长得漂亮？

四肢健全？

受过高等教育？

以上我全不关心喵喵，你触法了——我想我们都知道——当你轻轻按下传播《日子》样片链接的按键。

我们都这样觉得，但我以为这样是合情理的，我们的世界有法律，也有是非。

我不想知道喵喵是谁。

他是普通影迷，跟我没什么不同，没有三头六臂。

喵喵，你的人生有犯过罪吗？

或者有心无心，有过违法被惩的经验吗？

或被惩罚的羞耻？

在一个本就不是黑白分明的世界里做一件灰色的事，你会被追责的。

或许你会想到当初看戏的那些人，他们就在角落里默默地支持你，或者就走掉了。

喵喵，不妨配合蔡导合理的要求。

豆瓣网友 2020.4.11

有些影评好写，有些不好写，这部属于后者。

不好写在哪？

就是文字难以去描述电影，它是更纯粹的影像，实际上连充当电影艺术核心的两个人物，都归属于影像元素，所以这部作品很难得的实现了一种纯粹影像艺术。

我只能像看书一样，写个观后感。

整部作品在我看来，是一个非常连贯的艺术整体，从人物到生活，从人物到人物，从人物内窥人物本体！

要谈这部电影，首先得谈生活，生活是怎样的？

我认为它有时间，有空间，有人物，有环境，有人在时间、空间、人物(其它人物或人物本体)、环境内一种心理层面的流动，它有对外界环境的感受和思考，但更多是关于个体本体的表达，关于个体与外界环境的一种关系，我认为，这是生活，而《日子》便是在这样一个生活的框架内，随着影像的驱动，在陈述，在表达。

要谈这部电影，其次得谈人物，对这部作品而言，人物是一个选择题，什么样的演员决定了电影最终呈现的人物是什么？

为什么？

因为它纯粹。

我们看到人物凝视，不知凝视何方，在思考什么？

我们看到人物日常，就是在日常，他们在行动，也不知道是什么驱动了他们？

我们看到人物与人物靠近，他们从陌生，到欲望驱动下的暧昧，或者有过短暂熟悉，再回归到陌生，个体依旧是个体，你与他之间只有短暂的以欲望为桥梁彼此“熟悉”，然后是永恒的隔阂，这就是电影里头人物的极简关系，你是你，我是我，我们之间有了短暂熟悉，然后你依旧是你，我依旧是我，我们熟悉过吗？

短暂的在欲望驱使下熟悉过，然后就是陌生，或许再也不会见面，见面后也互不认识或者装作不认识的陌生，这是一个很当代化的议题，人与人之间的不可接近、不可理解、彼此陌生！

要谈这部电影，还得谈谈艺术形式，静默，凝视。

《郊游》里，我们曾经随着电影凝视、静默，无声的，到了《日子》，凝视变淡了，静默也更彻底了。

这是一份更多边又更彻底的凝视，人物在凝视，我们在凝视，电影在凝视，他们在凝视什么？

人物在静默，我们在静默，电影在静默，它们在静默什么？

或许我们都在凝视人的静默，是电影里吸引我们静默凝视的人物，是人物与人物之间的关系，是我们成为静默凝视的个体，只是没人有凝视静默的我们。

蔡明亮在这部作品里，相较于《郊游》，我认为更沉下去了，更纯粹了，更高明了，更精简了，它那种概念化的东西彻底被抹去了，连谜题也没有了直接就是谜底，于是，我们有了更多的面对这种更直观性微妙的思考和想象，《日子》成为一双眼睛，一面镜子，我们在观察，然后也在附着思想在人物身上，这时候，我们思考人物，也思考自己。

人物的静默，在解构人物更真实的形态，我们的静默，也在解构静默状态下的我们自己。

对这部电影而言，从静默中窥见人物生存的沉积，窥见人个体的孤独，窥见人的部分本体(为什么只是部分，因为它毕竟有表演)，以及那难以描述的一种纯粹影像艺术带来的感受，这就是它的意义。

谈完以上，我们回归语言，语言能表达人吗？

在通俗的一种生存与沟通需要层面，能。

但是在表达我们自己，表达我们个体的本质，它不能！

它只能浅层次的去表达你的感受，经历，思想，情感...但无法描述你的本质。

静默比语言更能表达个体吗？

不一定能，但多数时候，无声的我们更接近我们的本质，因为我们不会被我们自己表达的语言误导，至于我们如何自我解读或者被解读，这是另一个维度的难题，这部电影也给出了部分答案。

最后，总结电影，这是一场静默的影像与观众耐心的博弈！

导演用更纯粹的影像，让观众去静默凝视，既挑战观众耐心，又打磨观众耐心，实际上给电影艺术在做减法，也是在浮躁的当代对艺术与人的本质追本溯源的一种形式。

谈完以上，我实际上已经谈完电影。

接着是我的一些表达...人的内心世界是怎样的？

这个问题很复杂，电影如何表达人的内心世界？

我认为静默是很重要的一部分，人在“运动”状态下的自由和舒展，也是重要部分，我们认知自己，也是在我们的动静之间。

在这个人与人之间隔阂更深，交流和理解更难的时代，我们需要更多的静默，让自己静下来去凝视生活中一切重要的人和事物，去更耐心的去抚平我们浮躁的内心，也与此同时，去更纯粹更深刻的去思考和面对未知的自己。

原文地址：https://mubi.com/notebook/posts/trapped-bodies-tsai-ming-liang-discusses-days标题：Trapped Bodies: Tsai Ming-Liang Discusses "Days"副标题：Tsai Ming-liang and his two stars, Lee Kang-sheng and Anong Houngheuangsy, talk sickness, recovery, moviemaking, and their new film, "Days."作者：Daniel Kasman•28 FEB 2020正文One of the strongest qualities of this year’s Berlin International Film Festival is just how many small scale movies have been granted a much-deserved premiere on the biggest of screens and reddest of carpets here, in the main competition. The most personal of all these, as well as the most touching, is Days, the new film by the Taiwanese director Tsai Ming-Liang. Stripped down even further than 2015’s stoic Stray Dogs, it iterates on both Afternoon (2015), a documentary made of a conversation between a loquacious Tsai and the taciturn star of his movies, Lee Kang-sheng, and Your Face (2018), a feature-length gallery work made up only of intensely observed close-ups, many of elderly Taiwanese. Days takes the lessons of documentary impulse, evocative spareness, extreme patience, and extended duration from those films, as well as their focus on the aging, to create a new picture of wide expanse in terms of geography and compassion, but whose story is intensely intimate, discrete, and personal.Lee returns, of course: an ageless beauty now at 50. But even if the actor is as handsome as ever, his body and movements tell another tale. Lee contracted some extreme illness over the last several years, and Days was born out of the idea of filming his living and recuperation. In it, we see the existence of two men, both unnamed: that of Lee, who descends from a mountaintop refuge (in reality, his and Tsai’s home) to find muscular therapy in various cities (Taipei, Hong Kong, and Bangkok); and that of a young man half Lee’s age (Anong Houngheuangsy), living in Bangkok. Both men live alone, the one self-isolated, attending to his recovery, and the other, suffering the big city solitude of a transplant and outsider, Anong being a Laotian working in Thailand.Opening with a entrancing long shot of Lee seated in his white-walled retreat in the clouds and amongst the trees, gazing outside at a world we only see in the reflection of the window, the majority of Days is made of quiet master shots observing these men’s routines: Lee bathing, stretching, visiting a doctor; Anong praying and preparing and cooking a beautiful fish and vegetable soup; both walking around their cities, alone, and Anong possibly cruising, or at least mournfully looking for any kind of companion. The connection, call it metaphysical, between the two strands the film pleats together could by myriad: Different versions of the same person split across time or countries, lovers bound to meet, or, most intriguing, a poetic suggestion of a father and son—or one that could have been. Tsai’s camera highlights not just the texture and space of each man’s introspective isolation, but their beautiful human bodies too, bodies in space, sensual bodies covered and revealed. In a deeply affective sequence, we watch Lee receive what looks like a precarious and painful muscular therapy involving electronic stimulation and burning embers. Here Tsai deviates from his one-scene, one-shot approach with multiple cuts and angle changes, underscoring the documentary aspect that blends the life of his actor with the composition of the film. After Lee leaves the doctor’s, the film again surprisingly shifts style, opting for aggressive handheld closeups of Lee, his neck held in a brace and that brace held tentative by his hands, as he navigates the crowded sidewalk. The scene combines the stylistic departures of two of Tsai’s most radically different films, Your Face and the handheld short Madame Bovary (2009), and this disjuncture makes Lee’s real discomfort even more palpable: the outside world is just distracting noise against the intense focus his pain consumes.It would be a spoiler, but a necessary one, to say that eventually these two men, older and younger, ill and healthy, Taiwanese and Laotian, meet. They meet at the point of an economic transaction, and thus one between two classes, as well as one that is recuperative: a massage for Lee by Anong in a hotel room. In two very extended long shots, we watch nearly the whole massage, an immersion of time and sensuality of extraordinary intimacy due not just to the profound emphasis on Lee’s oiled and rubbed torso and the prolonged touching of another, but in the effect the therapy has on Lee, whose body grunts and groans under the pressure, the pain, and the pleasure. A transaction turns into therapy, into eroticism, and perhaps more: we sense (and indeed long for) a greater connection, a human one, one of souls, that meet in this communion of flesh. At its end, the two linger together and Lee gifts the young man a music box that plays Chaplin’s theme for Limelight: a romantic gesture, but also one suggesting Chaplin’s status at that film’s time of an old man well-past his prime, of a political troublemaker, and of an exile. Lee hands it to Anong, soul to soul, generation to generation: it has the feeling at once of a memento, a curse, and a blessing.At the world premiere of their new film, director Tsai Ming-liang and his stars Lee Kang-sheng and Anong Houngheuangsy discusses the origins of the film, its documentary elements, Lee's recent illness, and cinema's love of faces and bodies.采访：NOTEBOOK: If I could start with Mr. Tsai, you’ve said somewhat recently that you wanted to first move away from films with scripts, and then move away from films with concepts. I’m wondering what is this film without a concept?TSAI MING-LIANG: That’s the film you saw! [laughs] A script is a tool. Actually, I already had a script when I was shooting the film and sometimes, if we have a script it was actually for the team, because they need to know what was going on. But for this film, Days, I didn’t need a script at all because we don’t really have a so-called “team” for shooting the film: I just had a cinematographer with me, and I don’t need a script for the outline and the plot, and so I didn’t need to explain to him what the film was about.NOTEBOOK: This film seems built from routine, how people spend their days, how people spend their life. How do you start making a film like this? TSAI: We should divide the shooting of this film into two parts. We should go back to the year 2014, because we came to Europe, we had a theatre performance, and I always had a cinematographer with us, who always recorded our daily routines during our trip. And Kang-sheng actually fell sick. He started to get sick and every day I would have to take him to see a doctor. Or, after treatment, we would have to take a walk in the park. And then, after the whole tour, I saw these images after a while and I realized that I really loved those images. Because Kang-sheng was sick and when he was ill, it was not a performance, it was actually very realistic—and these images really touched me. So, I told myself that I should film this. That’s why I talked to the photographer and that’s why we started shooting, when he was sick. So—this is still the first part—Lee Kang-sheng actually wanted to see a doctor in Hong Kong. We went there as a team: just the cinematographer, me, Lee Kang-sheng and of course my producer, Claude Wang. We had no idea we were shooting something, we had no idea what the treatment was about—and that’s the thing you saw—but we just had a vague image. We decided to film Lee Kang-sheng walking from the hotel to the clinic where the doctor is. We weren’t really sure why we were shooting those images…The second part of the shooting was that I met Anong, the actor, in Thailand. We were actually video-chatting friends. I met him, I got his telephone number, and we started chatting online, through videos. He’s a foreign worker from Laos, working in Thailand. And this kind of identity—he’s actually a foreign worker—this kind of identity is something that really interested me. We started doing a lot of video-chatting and I realized that he was really good at cooking. And when he was cooking and his daily routine… something was there, and that would touch me. This second part, at the beginning, had nothing to do with the first part. One day, three years later, I started talking to my cinematographer about all the images that we grabbed. I just started to be very interested. We started to talk about having a connection between these two parts—and made a film. The editing process was really long, we had a lot of footage. For example, those images we grabbed when we were doing our theatre tour in Europe in 2014, a lot of them were actually in the film but in the long process of editing, they were eventually gone. This is the final result; the final cut of the film that you saw was actually the result of the long process of the work and labor. NOTEBOOK: Mr. Lee, I wonder if because this film is dealing so much with your recovery and your recuperation, if you see it crossing the line into almost a documentary about you, less than a fiction film? LEE KANG-SHENG: Those images that you saw, when I was sick: actually I was really sick. For me, that was actually documentary. At the beginning I was not willing to be an object of filming because at first, I was really sick, and I wouldn’t look good when I was sick. And of course, I’m a star and you don’t want to look bad on film when you’re a star. Because when you are sick you look sick, and that is very awkward. At the beginning of the film I was actually resisting this, but the director sort of helped... or coerced [laughs]... or started pushing me into this, and sometimes I was acting to try and look less sick for the camera.NOTEBOOK: Anong, Kang-sheng has worked with Tsai Ming-liang for many years now, and knows his kind of films and kind of filmmaking. I’m curious to know from you, as someone new to making this kind of cinema and working with Mr. Tsai, what your experience was like?ANONG HOUNGHEUANGSY: We met in Thailand when I was working making noodles and we exchanged contacts and we had been talking for two years. We would video and Skype and things. We developed this friendship-relationship kind of thing, so in the beginning it was almost like working with friends. I realized that it was a part of the movie when he asked me to make a cooking video, and, I thought, oh my gosh there’s a video camera coming, and I realized that this is some sort of movie production. It was very friendship-style. It took me a while to get into [the massage scene], because we also barely knew each other before. Kang-sheng was helping a lot to facilitate what it feels like to act, and although we could barely speak perfect English, somehow we could communicate with each other. It turned out to be very effortless. NOTEBOOK: Mr. Tsai, for the whole film you keep these two men apart, but the film climaxes, so to speak, with them sharing a moment of intense connection. How do you create an intimacy for the two actors who are not together for an entire movie and are only together for one moment? TSAI: First of all, Lee Kang-sheng is actually my actor: he’s been working with me, we have a really close relationship, and he will actually do anything that I ask him to do [laughs]. And when it comes to Anong, he actually had no idea what I was doing. He had no idea that Lee Kang-sheng was an actor, he had no idea that Tsai Ming-liang was a director. When we were shooting those images, those videos of him cooking, he realized that maybe we were shooting something. Maybe for TV, maybe for films. But he just knew that he had to be natural, because I wanted him to do a naturalistic performance. Or not a performance at all: just be natural. We didn’t really have a lot of communication. But somehow in the process we established some sort of trust, because I was always thinking, it was always cooking in my head, should these two people meet? Maybe they should meet, maybe they shouldn’t meet. I was thinking about this back and forth. Because we had to make this documentary, those documentary images connect somehow into a feature film, or some sort of a drama. But I didn’t want it to be a real drama, I wanted it to be something very close to reality. When we were shooting those intimate moments in the room, there were not so many people. We had a cinematographer and a person who was in charge of lighting, and then the two actors. And we just did everything in a very slow way. We slowly adjusted the light and atmosphere and everything. And somehow it just worked.There’s a certain prop I want to talk about from the film: the music box. Because actually the music box was a gift from my producer, Claude Wang. He visited the Eye Filmmuseum in the Netherlands, and he knew that I really liked Charlie Chaplin. It’s the music from Limelight by Chaplin. Eventually, I actually gave this music box to Anong as a gift. And so when we were shooting in this room, suddenly it hit me: woah, okay, actually Anong has that music box. I asked him to bring the box with him, so actually it was a spontaneous idea. For me, this is something very close to reality.NOTEBOOK: Your previous film, Your Face, concentrated so much on just faces that when this film started and we saw Lee Kang-sheng gazing out of a window, I thought Days was going to be this shot for two hours—and I was happy! [laughter] Did your intense study of faces change the way you wanted to make this film? TSAI: Actually, this is my feedback to films! Why are films so fascinating? For me, it’s because of faces. Film is a medium, but faces actually are the topics and themes of films. These faces in the films were the chosen ones. It’s not just random faces: they were the chosen ones.But it’s not just faces that I focus on, it’s the bodies and the figures of the actors. Days is actually about the two bodies of the two actors. Because Lee Kang-sheng is 50 years old and Anong is 20 years old—actually, you can see that Days could be something that continues what we didn’t finish in The River, in 1997, which was in Berlinale as well. Because back then, Lee Kang-sheng was only 20 years old. So now, with his sick body, his aged body, he had to meet this other body who is 20 years old, but is yet another trapped body as well. So for me this film is actually about the two figures and two bodies of these actors.NOTEBOOK: So much of this film is about recovery—recovering the body, recovering the soul, getting healthier—in different ways: doctors, massage, a human connection. For you, is making a movie also an act of recovery, of therapy? Does making movies make you feel better? TSAI: What I cannot really deal with is not soul—because soul is something I can deal with—but the body, which is actually something I cannot deal with. We cannot avoid getting sick and getting old and feeling pain. We used to possess beauty, now we cannot avoid decay. We cannot control our body, and we all need to be calmed. A lot of times we need another body to calm our bodies down. Of course, you see the whole film is the therapeutic process for Lee Kang-sheng, the [climatic] massage was not just the massage for his body, it was also the massage for his soul. And when Lee Kang-sheng got sick, it was actually a lot worse than what you saw in the film’s images. He was so sick that he couldn’t have acted, as an actor, his sickness. When he was so sick, my soul was suffering as well. We were both working for the film, so through the film, indeed, this could be a therapeutic process.

卓別林逝世43年了《日子》使用了他在《舞台春秋》寫的音樂 叫「永恆」我們找到卓別林在美國的著作代理 只是從一支音樂盒流瀉出來的旋律 他們開了高價 不給殺 幸好台灣公共電視投入部份資金 讓我買到版權 我愛卓別林 更愛這音樂 抱定了主意 再貴 也要取得版權《日子》拍了4年 有一點錢 找機會就拍 一點一點拍 跟我永遠不超過5人的團隊 拍到一個程度 剪接起來覺得有點意思 向外求一些支持 再拍 再剪 後期的製作花了更多的心力 追求成一個作品我的電影走到現在 已不再是商品的生產 沒有巿場調查 沒有預定檔期 也沒估量可以賣多少版權 賺多少錢 只想作品面巿之後 能按照自己的想法 被好好看待 喵喵 當我看到《日子》樣帶被你連結傳播 你可以想像我的心有多痛嗎 就像看見了自己被殺掉的孩子 屍首繼續被千刀萬剮 眾人還異口同聲替你辯護 喵喵只是個普通人 其實喵喵不只一位 喵喵只是熱情影迷的分享 蔡導你太小器 沒有喵喵們 沒有我們這群觀眾 你的電影根本什麼都不是你們普通人隨隨便便都幹得出這犯法的勾當 告訴我 誰不無法無天 至於蔡明亮是什麽 不是什麽 不甘你事 但 別劫我盜我 蔡導小器 因為被劫的不是你 再說一遍 被劫的不是你 被殺的 被糟蹋的不是你的小孩喵喵 為時不多 快點聯系我的微博或王製片 望你自重 蔡明亮 2020.4.12

“如果经得起消磨的时光 应该也是好日子吧”从电影院出来已经是晚上十一点半了 柏林又飘起了雨 本来打算打车回家 但是想了想又觉得既然不赶时间了 之后也没什么重要的事情要做 那就骑滑板车回家吧 于是我和同学两个人就一头扎进了柏林的冷风中 混着雨一起 穿梭在柏林昏黄的路灯里 泛着光的街道上....... 导演真的很有勇气 全片无对白 将镜头对准了生活中最细水长流的琐事 精彩的日子 或许是每天在人群中穿梭 见形形色色的人 早晚各换一个行头 成为一个雷厉风行的人 但也可以是 看路边大爷下一整个下午的棋 坐在阳台上发呆喝茶 坐在河边数河里的鸭子和大鹅 精致地准备一顿饭...... 没有人催促 不担心deadline 看起来真的很无聊 但是细想 也算自在 哪怕短暂 小时候我喜欢看奶奶做饭 我就搬个小板凳坐在旁边 奶奶也懒得理我 切菜时刀剁在案板上的声音 水热好后咕嘟咕嘟的声音 还有奶奶搓猫耳朵（一种面食）时的样子 这些个画面留在我心里 偶尔记起真的很满足 偶有闲暇可供消磨 月华如霜 似风似水 一眼看到了树深这部电影给了我这种感觉 我觉得挺感谢的 但是有些画面和情节 我还是.......get不到 没那么喜欢 觉得没有必要 刻意得很 声音塑造了空间 但是吧 有的时候演员动作大了 感觉麦就爆了 在电影院里 吓我一跳😂😂😂

内源性吗啡电影中小康所接受的按摩服务，是一种私人的上门服务，泰式按摩。

小康明显已经与按摩师产生了信任感，从动作的配合度来看，这也与时间积累有关，是试探性消费到成熟消费心理的质变。

内源性是由人体自身内部产生的与外源性相对的物质，内源性吗啡一般常见的在于长期的按摩与洗脚。

在服务业发达的社会里，按摩与洗脚上瘾的问题已经慢慢成为一种社会病。

小康所接受的私人泰式按摩是传统的精油按摩，先将衣物去除，赤裸向下平躺。

按摩师将携带的精油滴于手心，摩擦发热。

两掌舒展按压至全身。

但也不是从任意部位开始，一般按从下到上的步骤操作。

和电影一样，Non从康的足部开端按摩，紧接着腰部到背部，手臂到手掌最后到颈部，有需求的头部也可以接受按摩。

电影里是私人预约型的男士spa，就会有臀部与乳头或者性器官的按摩项目。

这类按摩很难局限于同性或者异性，但预约此项服务的大部分是同性居多。

康与Non在服务的结尾关系就变的暧昧不清，接吻与洗澡，还有配有卓别林配乐的八音盒礼物。

康在即将送别Non之际犹豫的跟上去，一起吃了顿路边摊。

但往后彼此也没有过多的来往，养鱼或者烧炭，吃吃睡睡。

在清晨醒来后的恍惚，在午夜公交椅上的呆滞，都是服务业物质性社会所产生的孤独感。

除了生理需求外，我们很难将心理的苦衷解释与他人，此时无声胜有声，肉体与肉体的摩擦更能抚慰物质横行的浮躁心。

在按摩过程康的呻吟与Non的按摩替代了言语的安慰，几十分钟的关系如梦境一般，虽然不得不给上早已准备好的小费。

温馨提示：患颈肩疼者，睡觉时，一般将枕头放置于颈部，而非后脑勺。

经历过颈肩周炎的患者能够理解只有这样，才能使脖子肌肉相对放松。

电影中李康生的睡觉姿势是颈腰疼者的正确睡眠方式，腰痛患者一般呈虾状，也就是侧卧。

当然电影不单聚焦于小康的病痛，Non的睡眠姿势也呈虾状，但Non没有受病痛的折磨，想表达的或许是个体与个体的孤独叠加。

郊游 (2013)7.22013 / 中国台湾 法国 / 剧情 家庭 / 蔡明亮 / 李康生 陆弈静如果没有看过蔡导《郊游》类似的电影，可能很难接受固定长镜头所带来的漫长感，但我觉得《日子》比《郊游》长时间站在墙边的映像更加轻盈且生活化，如果耐心与平静点更能够接受此形式所带来的共情感，而非单纯的产生前列腺液，现在还有多少《那年夏天，宁静的海》了。

身后的越南小哥用越南语叫住了尹森，他刚买烟的时候，忘记拿零钱了。

这儿的雨季慢慢开始了，这种潮湿发霉的气候会时常让他想起老家干燥的时候，多么鲜明的对比。

街对面，有一家新开的五星级酒店，尹森刚来这里的时候，这里还是一片郊区的荒地，然而现在已然成了中国新中产的🍃度假胜地。

一个看上去四十岁左右的中年男人在酒店大堂办理完入住手续，行李安放好之后，他正准备出去和老婆女儿吃点东西。

他给了luggage boy一点点小费，之后，便打算去门口抽支烟，在打火机被打着的一瞬间，他似乎看到了一个似曾相识的人的身影。

此时此刻，尹森正靠在距离五星级酒店一百米处的公园栏杆抽着万宝龙720号薄荷味香烟。

男人不断向叶准这的方向看来，直觉告诉他，没错，这就是尹森，想不到吧，命运很会跟人开玩笑，缘分这种东西，躲也躲不过。

这条街上的人大多是从越南乡下来打工的，皮肤黝黑有着中国清朝末年黄包车师傅身上那种朴实的色彩。

尹森白皙的皮肤在这群人中间很难不被注意到。

况且，他又是那么骚。

男人一直尾随着尹森穿过这座城市的大街小巷，一个又一个街角，中间男人的妻子打过一次电话叫他过去吃饭，都被男人以身体不适在房间休息为由拒绝了。

他们穿过街角的方式让他想起许多年以前两个人在北京的老胡同里面，穿过熙熙攘攘的人群。

多年以后，他依旧无法忘记，在昌平的海友旅馆里，叶准问他，“你能干多久”。

他回答：很久。

“很久，是多久”。

此时两个人都微醺，相依着对方躺下。

那雪白的床单上泛着肉色的欲望，以及对于青春无悔的向往。

从那时起，到现在，差不多应该有十年了吧。

他回忆着过去的那些时光，走到了现在。

尹森在上楼前回头，不小心与他的目光交织，他看着尹森，尹森头也不回的上了楼。

显然尹森并没有认出他。

其实， 他应该有五十岁了，只是看上去年轻一些。

回到酒店之后，他以出去散步为由搪塞给妻子，妻子也没有再过问。

这一夜，他似乎辗转反侧，彻夜难眠，那些属于记忆里的往事仿佛一瞬间就被打开了。

夜里，他起身上厕所，女儿主宰者外屋的房间，他抚摸了一下女儿的额头，又回到妻子身边，月光皎洁，但愿此夜给他一个好梦吧。

粉红色的光照进这充满了中世纪阴郁气质的房间。

越南的雨季似乎也为这忧郁的房间增加了一丝别样的美感。

床上躺着的，是尹森现在的伴侣。

看着旁边熟睡的“臭猪”，他想起来一件事情，大概是在昨天晚上，他似乎看到了一个老朋友的身影。

想到这里，他起身做早餐，然后让自己的爱人继续睡著。

他想了一下自己和那位老朋友重逢时候的台词，大概是：这些年，你过得好么。

或许，你过得不好么。

然后，这都不重要。

说这话的人和当时听这话的人都已经变了，变了岁月里，最真挚的那种东西。

因为生活还要继续，日子总的来说还是需要过下去的。

电影里面蓝宇的死让另外一位男主人公舍弃了自己虚假的内心，而现实是，谁离开谁照样可以活的下去。

最近，马来西亚著名导演蔡明亮发文讨伐将自己最新作品《日子》的盗版资源公然放到网上的做法。

这部在今年柏林电影节上获得泰迪熊奖的作品讲述两位分别来自台湾和越南的边缘人物的故事，全程无对白，对于演员和观众都是一种考验。

越来越狭窄的独立创作空间，盗版，市场的局限性，对于像胡波（《大象席地而坐》）这样的独立影像创作者来说无疑是毁灭性的打击。

好在，我们有蔡导演这样的人勇于站出来。

对于蔡明亮，内地观众看过最多的应是他在第五十届金马奖上的表现，电影《郊游》同时获得最佳男主角和最佳导演奖，2019年的北京影展，我有幸见到蔡明亮导演和李康生先生本人，两位在九十年代早已蜚声欧洲影坛的电影人对于普通观众提出来的问题所表现出来的谦逊和耐心让许多影迷深受感动。

今天我感到非常沮喪和失望 我倒沒有太過憤怒 因為這樣的事總會到來 只是早或晚 而這回來的過早 早得令人感到詫異 令人不知所措 對人性感到一股的寒意不久前帶去柏林參賽的《日子》我的製片因應部份媒體及片商的要求 把影片的樣片寄到某些人士手中 我們是多麼的信任每一個人對著作權的重視 但事情就發生了 有人把樣片資源流了出來 非常非常令人震驚 以後我們還要相信什麼 人和人之間還會有信任嗎這事傷了我們的權益 傷了我們的作品 也傷了我們的心如果你是我的影迷 或是電影的愛好者 我懇求你不要像那位傷我的人那樣傷我 那樣的傷一部作品 認真的拒絕在這情況下看《日子》也幫忙我阻斷所有的輸送 甚至幫我查到發放的原兇也許我永遠也查不到是誰 但我深信人在做 天在看 你知 天知 只是時候未到而已蔡明亮

如题，全剧终（以下都是凑字：镜头一：老0坐着看雨10分钟；镜头二：按摩鸡蹲那洗菜10分钟；镜头三：按摩鸡做饭烧开水10分钟；镜头四：老0后背熏艾灸10分钟；镜头五：按摩鸡给老0按摩背面10分钟；镜头六：按摩鸡给老0按摩正面10分钟；镜头七：按摩鸡坐公交车站牌下10分钟；没了，够140字了吧）

2013年《郊游》在威尼斯拿下评委会大奖时，蔡明亮宣布不再拍摄电影，之后被证实这只是一句玩笑话，不过他此后的确尝试了各种不同于传统电影的影像创作，有纪录片、VR，全都是具有实验意味的美术馆电影，直至今年这部《日子》，他才重新回到叙事剧情片的创作。

尽管如此，比起同样极简风格的《郊游》，这部新作明显更趋向实验。

全片由40多个镜头组接而成，其中大部分是长达数分钟的固定机位长镜头，也包括一些手持摄影的跟拍镜头，另外更混入小康接受颈背治疗的记录影像。

叙事在纪实与虚构之间留下太多空白，与其说是留给观众体验时间的流逝感，倒不如说是剧本过于稀薄，人物背景信息欠奉。

我看的时候一直疑惑是不是两位主角少了几场戏，导致情节不够连贯，比如小康在跳蚤市场上买音乐盒的情景，以及年轻按摩师服务其他宾客的短暂描述。

两个角色的身份上大有文章可做，中产商人和外籍按摩师之间的金钱交易和稍纵即逝的亲密情感，更能找到不同的切入点来影射复杂的社会问题，好比之前以外籍劳工为焦点的《黑眼圈》和拾荒家庭父子亲情的《郊游》，无疑都在风格化的表达上衍生出不可忽视的现实关注。

然而，当音乐盒一幕出现时，我意识到蔡明亮放弃了较为严肃的社会反思，回归到早期作品中关于寂寞和疏离关系的沉思。

他对这类主题早已驾轻就熟，而结合这些主题更创立出一套独家的“慢电影”美学，看看片中人物洗澡、切菜、煮饭等日常细节的处理就得知一二。

私人亲密情感的描绘并非不可取，只不过这个建立在极端风格化的美学实验上的故事，其核心跟普通言情小说却并无太大分别，用陌生人的抚慰来排解寂寞的主题太过轻盈，远不如两人身上的阶级标签来得刺眼。