小大人

This part beginning from a dark movements, From the back view, a group of students entered the painting, and the protagonist followed the paintings of everyone. The director's handling of this picture deliberately makes the backlight of the scene brighter than the foreground, so that the audience can shift their attention away from the students who have passed the foreground.Then the lens is very slight, and it is very imperceptible to push to the Jake.

Other students have a good exchange and itobviouslyseems that he is lonely and quiet. From Jake's back shot to Tony in the middle of others and withclassmates for a lively communication, andwith just previous shot thatJake just walked quietly in stark contrast.

The director gave Jake a reaction lens that placed him at one-third of the picture. At the edge of the picture, he formed a protagonist with a sense of inner crisis, and the state of the protagonist looked up, which added to the expression of the protagonist'semotion.After the camera washorizontalshaken to the left, after Tony and the others walk out of tjepicture, Jack returned to the center of the screen.Using painting as a transition, it seems that the character's emotions are cut off here, making the emotions extremely restrained and the lens expressionseemsmore objective.

With the beginning of background music,director added a close-up of Jake's classmates with four different scenes and different positions. Finally, it is a close-up of the main character. It is very interesting to convey that the people around Jake have changed, just like the people around everyone in the real world are constantly changing, sometimes spreading outand getting together.

The background music is only repeated for a whilein the same way, and it can clearly hear its editing points, as if it implies that everything is actually circulating.

I am very appreciatethat the director described the emotions of the characters with an extremely cool lens movement.Most of them are fixed lens.Using a fixed lens can make the audience move away from emotions and turn into thinking.The friendship of Jake and Tony in "Little Men" carries that kind of bittersweet weight. Jake and Tony hold hands over the growing abyss between their parents. They're only 13 years old. Do they know that relationships are fragile and need protection? Do they understand how precious their friendship is, how much they need to hold onto it, how much they will miss it if it ends? These questions carry intense reverberation long after the film ends.

In the class,wealsoreadthis part of the script. In the front part of the script, the screenwriter used the enthusiasm of the guest to describe the alienation of their relationship, echoing the scene of their mother's first meeting.From the lens or the script are deliberately creating a distance between them.But after the script, it was too straightforward. The director simply used the movements and the lens to sublimate the whole movie.Using gestures to describe mental activity is the most difficult task in terms of scriptwriting.I thinkfilmsmainly needs to use the lens language to show the theme and emotions. I think this is the place where fabulous in <Little Men>.The director knows how to do appropriate subtraction in the film.Its smallness makes it grand and moving. These are the things, these little moments, decisions and consequences that most human lives are made of, after all.

This film is very different from the general run of ingratiating middlebrow indies that pop up on screen periodically, drenched with implausibility, sentimentality and lame bet-hedging humour.It is composed with scrupulous observational intelligence and Care. It is really engaging.

少年时代的你结交的朋友现在还联系着吗？联系的频率如何？你们的共同话题多么？一段关系的维系是要经受很多外在因素的影响的，比如小时候的搬迁，成绩差异去了不同的学校，大学的天南海北，虽然如此，但也可能会出现毕业后都回到了原来的家乡，曾经断掉的联络又维系起来了，但这时可能也会面临彼此发展的不同，彼此之间的物理距离近了，但是可能内心的距离更远了。这部影片就是用平铺直叙的方式讲述了一段友谊由于家庭之间的经济利益原因而消逝的故事。

导演是艾拉·萨克斯，有说他是美国的是枝裕和，仔细想想，电影的剧情风格与是枝裕和很像，平凡人的普通生活，有戏剧性，更多的都会展示普通人生活中的真实的无奈，但是画面真的不如是枝裕和电影的画面，当然可能也与日本街头的独特美感有关。

电影直到结尾处才有了高潮，租客（单身妈妈）的不谈论，不表达，不离开策略最终使得房东一方不得不采取“驱逐”的方式处理问题，当一纸法律文书送到租客手中时，单身妈妈崩溃的哭泣，儿子走上前环抱住母亲给予母亲安慰，这一刻感受到了电影名字中的那个Man字。原本以为在房主家小男孩得知他的好朋友将要搬离的悲伤中提出的委曲求全的解决方式会被父亲接受，后来镜头切换到了空荡的店铺中，生活没那么多happy ending，生活就是有很多无奈。 之后的小男孩们各自也都很好的继续着各自本应有的生活轨迹。虽说当时他们说好的念同一所艺术类学校，但似乎因为实力原因，也终究还是分道扬镳（从男孩们的穿着猜测的）。

说来，在少年的时候我们已经体验了生活中的很多无奈，那时没有思考过，但是已经是坦然接受了周遭的一切。

PS：发现布鲁克林城市中的交通指示灯竟是手型和小人。

电影的内容让我非常熟悉，想起了11年前的我和我最好的朋友。

我们是在同一栋楼生活的，每年夏天，都有很多同龄的小朋友在小区游泳池玩耍，我们也是在那里认识的，说起来挺好笑的，我们互相都注意到对方，但是我一直不敢跟她讲话，后来她终于打破沉寂：“可以交个朋友吗？”

我们关系很好，幸运的是，她妈妈也非常喜欢我。每个夏天，我们会一起游泳，放假时去她的家玩，我们一起逛街，一起去图书馆，一起玩电脑游戏，那时是我最快乐的时光。

她比我稍稍成熟些，我的妈妈不太喜欢她，但我觉得，再也没有比她更了解我的了。我们计划好要去同一所初中读书，但她突然跟我说，她要搬家了，要去别的城市上学。

那一瞬间，我真的好难过，我觉得我的心空了，现在想起来虽然感觉自己特别矫情，但当时的我像从天空的云朵上慢慢坠落下去。

我们都改变不了大人的决定，最终她还是去了离我家三个多钟头路程的城市。那时我们并没有手机，自然跟她断了联系。过了一年，她突然打到我家里的电话，告诉我她要回来一次，我兴奋地跳了起来，真的抑制不了自己的心情。但我记得她最终还是没过来，因为某些原因，放了我三次鸽子。随着进入学校，认识更多的朋友，我也渐渐淡忘了当初与她那种密不可分的感情。到初中快毕业的时候，她给我打了通电话，聊了很久，我特别开心，又特别心疼她不愉快的初中生活。我记得我们仅仅见过一次面，她就出国读书了，这次更远了，我很难再去找她了。但我很开心，她没有忘记我，时不时会打电话，发短信给我，偶尔知道你过得还不错，那也挺好的。

直到2017年，她终于回国了，她再一次约我出去，我有点忐忑，又有点激动，就像许久未见的老朋友，既熟悉，又陌生，但好在，我们还是最初那样，无话不谈。后来的后来，她来到离我仅仅一个小时的城市工作，只要大家有空，就能一起去玩。而我妈妈也认为我们这么多年还能这么要好，确实不容易，也放下了她原来的成见。

跨越了8年的友情，有时候可能也不会随时间淡化，《小大人》里的结局，我认为是开放式的，杰克跟我一样，以为失去了自己最好的朋友，可能一辈子再也不会见面了，但是如果其中一方主动找对方，故事就还没结束，希望杰克跟托尼，能再某天遇见，还能像以前那样。

人生路说长不长，说短不短，但与人之间的缘分，却太短了，遇见过这么多朋友，还能继续联系的，没有多少。如果有多年未见还能畅谈的朋友，请一定要珍惜。

我觉得Tony是个gay，看了Q&A没想到是真的，看片的时候一直在YY一个gay男孩爱上了自己异性恋朋友的悲剧。看到父母们不算激烈的撕逼，一直想告诉那两个男孩一声。没想到最后Jacob会轻易地原谅父母，或许他本身性格就是温柔体贴的，如果是我，估计会很久不和父母说话。不过两人最后逐渐生疏倒是预料到了，成长的过程就是不断遇到新的人，建立新的关系，然后和很多以前的朋友渐行渐远，伤感但这也许就是人生。