New York private detective Duncan "Mac" MacLain is blind but has keenly developed all his other senses. He pursues his work assisted by his faithful guide dog Friday, his butler, Alistair, and his assistant, Marty. Retired actress Norma Lawry, an old friend, comes to Mac seeking advice. Her headstrong 17-year-old step-daughter Barbara, herself a promising actress, is enamored with her leading man in a small theater production, the much older Lothario Paul Gerente. Paul, who had once been Norma's lover, has convinced Barbara that Norma actually wants Paul for herself and has only married her father Stephen for his money. At Mac's urging, Norma tried to reason with Paul, but he insists that he loves Barbara and laughs her off. Barbara is equally disdainful of her and agrees to meet Paul for dinner that night at his apartment.
Norma's husband Stephen Lawry is a scientist leaving that night on a trip to test a secret invention on which he has been working for the government and the war effort. Worried about Barbara, she uses a pretext not to accompany Stephen and goes to the apartment. When Barbara arrives, she finds Paul's dead body and thinks that Norma has killed him, even though Norma insists that he was dead when she arrived. Barbara threatens to call the police unless she leaves Stephen. Fearing that a scandal will hurt him, Norma agrees. Norma then turns to Mac, who goes to Paul's apartment with Friday and Marty, only to find the body and the rug under it missing. A man arrives to replace the rug and Mac hides in a closet, overhearing a telephone call to Norma's number from "Gabriel" to "Vera." Mac accidentally gives himself away, but with Friday's help overpowers Gabriel, who refuses to talk. Mac has Marty hide him to keep him under wraps.
Norma returns to her country home unexpectedly, which discourages an espionage ring that includes her butler, Hansen, from breaking into Stephen's safe and stealing his plans. They have killed Gerente, who was also an agent, and hidden the body. Mac arrives with Friday at Norma's house and pretends to be her curmudgeonly "Uncle Mac" who has come for a visit. His blindness lulls any suspicions Hansen might have about him. Shortly thereafter, Barbara comes home from an "emergency rehearsal", called to get her out of the house by her director, Cheli Scott, who inveigles an invitation to spend the night at the Lawry home. Unknown to Barbara and Norma, Cheli is the ringleader of the spies. Cheli ordered Paul killed because his affection for Barbara was beginning to limit his effectiveness, and she immediately suspects Mac is not what he seems.
Gabriel's wife Vera, the Lawrys' maid, is also a part of the plot. When Gabriel does not return home, Vera becomes hysterical with worry. Mac secretly asks Vera to meet him in the greenhouse, using her worry about Gabriel as a lure. She is observed by the others, however, and is killed by Hansen before she can reach Mac. The spies cut the house's telephone wires so that Mac and Norma cannot call the police, and Cheli has Mac locked up under guard. Using his blindness as a distraction, Mac overpowers his guard and releases Friday out a window with instructions to "go home and get Marty." Stephen arrives home and Cheli threatens his family if he does not give her the final step in creating his invention, which was not in the safe. Barbara finally realizes how much Norma actually cares for her. Mac tries to stall for time, but is locked in the cellar. When Hansen goes to kill him, Mac has broken the light bulb and his advantage of total darkness helps him overcome the spy. Marty and Friday return with the police. When Friday is spotted by a lookout, Mac overpowers him and is saved from being shot by another lookout by Friday. After the spies are captured, Stephen and Norma are off to Washington, D.C., with Barbara remaining behind to care for her new "Uncle Mac."
比起每个孩子平均拥有十多名成年看护人的母系氏族，在现代社会当妈确实是地狱难度。（我好爱Jessie Buckley 但这部真的meh）
[3.5/5.0] 杜篤之，廖慶松，洪興文。
給我的感覺很好，無可替代，很台灣，情懷萬歲，黑幫青春片，典範。給人的感覺太好了。也很傷感，青春，江湖，人生，在路上，失落，等等，將這些搞的曖昧無比，太喜歡！
ps:此位台湾徐小明导演并非香港那位拍陈真的徐小明
彼得萨斯加德还有意大利那个女演员怎么老成这样了？！震惊。。
学识渊博的情人，硬不起来的丈夫，平庸多余的孩子，低智的意大利黑帮……要素太多，看得出仍有埃莱娜的影子，太过于自恋了。
观影过程中时常联想起她的经历，生儿育女后的生活有许多的不满却难以改善乃至根除，从而给她造成了各种精神上的折磨甚至几度导致崩溃，还因此犯过严重的错误……关心她想给予她有效的帮助，但时常是力不从心、费力不讨好的状态，也曾一度惹火上身、自讨苦吃……只道是：人人有一本难念的经。
【Netflix】惊艳的处女作，对于情绪的暗潮涌动处理的非常老道，张力十足。不过本片的最大功臣必然是Colman，举手投足皆是戏。
作为新手导演，玛吉的这部电影创作很成熟，主演科尔曼也是选对了人，难以想象换一个女主演会不会把角色演砸。故事虽然以回忆和现实两条线同时展开，但是说真的，并没有拍出作为母亲那一刻真正摧毁她决绝母子情分的焦虑，我想尤其对那些没有做母亲的经历的人来说，更有此感，好电影的共情处在于全人类共情，如果没有拍出来，那说明导演还需要好好打磨剧情。
视角聚焦 在感受层面突出了优势 在跳出语境后陷入些许含糊不清的偏执 那些内疚或者沮丧失去支撑力一样 泥沙作画
有一种奇怪却迷人的节奏，让你去探究一个（作为女性）的女性。
【Netflix】电影开场就展现了女主死亡的镜头，伴随着背景音的电话占线声，同样对照结尾的画面，背景音为等待对方接线声。整部电影也多次闪出女主倒在海滩上的镜头，感觉影片更可以看作是一种近期回忆+过去回忆两部分的交叉叙事来回顾女性的痛苦，而且两部分有极强的对照性。女主对照Nina，教授对照Will（开自己女儿和Will三明治的玩笑也是强），Bianca对照Elena，这些对照也对于女性主义有较多输出的。片中大量使用手持特写镜头，在“现实”与回忆交织的中 镜头的摇晃及故意把主体置于画面之外，都让画面带有强烈的追忆感。
不错的处女座，审美音乐品味好的人拍电影不会差
人物刻画得很细腻，表演大于故事了。三星半。
于是确实值得一提和唯一必须称赞的，就只有奥利维亚科尔曼精湛而足以让人拍手叫好的演技了。
很棒的女性主义作品，它择取了银幕上十分罕见的模糊的负面的女性能量形象作为主体，引领人一同堕入夹杂着后悔和失控的回忆，这是一段无比糟糕的旅程，但我很喜欢这部作品的勇敢，它是锐利的。玛吉聪明的选择了科尔曼来诠释这个角色，科尔曼再次贡献了自己惊人的表演才能，意识上她在表演当下，不演铺垫，不演应该隐藏起来的部分，就是靠小情绪组成个人的表演，她的表情非常生动，使自己在旁观的戏份中也成为绝对的主角，她像刀一样给出了十分锋利的表演，准确凶狠，将负面的情绪和自身古怪的神经质结合在一起，这个角色可以视作与安妮女王一体两面来做一个对比，此时科尔曼高级的写实处理就凸显出来了。
每一场戏单拿出来都很抓人，两条时间线穿插的剪辑不动声色而精准，配乐真的太会了，尤其是这高能的主题曲。情节的走向无迹可寻，而且几乎每次都不按常理出牌。暗流涌动的海边诡异假日全程扣人心弦，先前始终想不通一系列遭遇跟回忆中为母危机的关联性，直到最后海边醒来边给女儿打电话突然拿出个橘子开剥，之前的荒诞感一下子fall into place。两位年轻女演员表现都可圈可点，但重要的是Olivia Coleman绝对值得二度封后。导演Maggie女士太厉害了，以及我真想看看原著小说。
D / 既封闭又自我的电影，很不喜欢，能把手持特写电影拍的这么无法靠近人物，导演水平也是够差的。
可能因为不在那个context下所以很难被打动，少年无脑冲动或许才是应然，出身中产反而习惯算计
三十年前的Tw地景記憶… 新浪潮電影的'味道'，侯導監製，第一部杜比立體聲電影，善用定鏡+'畫外之音'敘事… 電視廣告可以提名一個配角… 感覺80～90年代的電影人們 雖然可能資源有限，但有相對寬廣的創作空間(對比今日 電影愈來愈流水線化/商品化)… 少年們莽撞衝動的銳氣，總想要衝破一些什麼，幫派/械鬥/嗑藥，模仿著'大人'模樣，最後也埋葬了自己… 比[浪流連]系列優秀不止一個[艋舺]… (22🐴奇幻影展_4k修復版)
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