To the south of the Indian metropolis of Surat in Gujarat province lies a vast industrial zone that has been growing ever since the 1960s. Director Rahul Jain filmed the grueling daily routine in just one of the many textile factories there. In the factory, man and machine seem to have fused into one being. It is dark and dank, and barely any daylight penetrates the space. The labor is heavy and mind-numbing, and the work days seem endless. We are drawn into a gloomy world where the cacophonous beat of machinery sets the rhythm of toil. Jain is as interested in the mysterious connection between worker and product (the fabrics are treated mechanically, but also with love) as he is in the degrading conditions. Each shift lasts 12 hours, for adults and children alike, and wages are extremely low. Short interviews are interspersed throughout the observational sequences, some of which are captivating in their beauty while others are painful to watch – such as when we see a boy nodding violently in his struggle to stay awake. (From IDFA official website)
再加上昨天看完OOO的十周年剧场版后，我对“情怀”真的是要有ptsd了
要是放到整个奥系列，只是个平庸之作
我觉得很久没看到扎扎实实拍好名著的电影了，当然一部分也是归功于巴尔扎克的剧本，这本子用来阐述当下的演艺圈及上层社会和媒体圈乱象依旧不过时，人类真是毫无进步感
好家伙，特利迦新生代最烂，特利迦剧场反而新生代剧场最佳
要圆的剧情太多还是有点赶但是确实很不错了，总体上来说算是一个好的结局
如果没有泽塔真的会给一颗星。
泽塔追着赛雷布洛到来，被附身，解除又抓住。
比久弥直树写的剧本好多了，这才是新世代迪迦的正常水准
妈耶我看了好几次才看完，长篇累牍地用原文旁白大约可以取悦原著党，但是仍然不是什么聪明的电影行为。巴尔扎克珠玉在前，巨著什么都不缺。改编要做的就是把长故事调度起来，顺坡下驴地讲好它。本片大部分时间不功不过，精彩的是几次对写作和评论的描绘，而对社会即是舞台剧场的讽刺有点完成任务式的铺排，还不够鞭辟入里。名著是有跨时代意义的，观赏本片大概还能具有一定的针砭时弊的意义。巴黎是一场虚无和幻灭，而现在的世界呢？
坏消息就是他在和TV比
结果毛也没有
确实好看，可以说是新时代剧场版里最可以的了。
比TV的观感好多了，剧情的话感觉还行。
稍微有点用力但还行 提前看了花絮没想到就已经完全被剧透了所有内容
观感确实好于tv，演员也更加卖力，当然也就这样了
我的评价是，没有迪迦帅。电影还是不错的，我挺喜欢的
两年后的故事了！虽然之前那一部没有看，但是还是可以看懂的！可能因为年龄问题吧，感觉全屏充满了一个尬字🤦♀️
十分尊重巴尔扎克的原著，以至于看起来更像是听小说。法国处理古典主义的视听也很棒，旁白最大限度的保留原著的精神态度，或者编剧根本就不想触碰这些。因为，法国人有解读心境的传统。
这部电影，一个好消息，一个坏消息
五一假期不能出去，决定读巴尔扎克原著！
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