第一段是路易在看拳击表演的时候：
There's no time like the present .It's too fleeting. In fact, I have a hypothesis that Electricity is what pushes us through time. We turn the past into the future with the power of our electricity. But that process is entirely reversible. Remembering the past is no different from imagining the future. And neither is different to life itself. I can remember Emily in the future. And she will be there.

剧本硬伤瑕不掩瑜，但同样没法忽视。叙事节奏随着时间线一路崩坏，观众浸入感大幅降低！
缺点归缺点的，寡淡的流水账拍出这样自成一派的氛围与气质，倒也真是意外之喜。
福田知盛的个人风格逐渐鲜明，日式小清新+英式怪极客，一点点Wes Anderson的对称美学和温暖体恤，一点点新浪潮的大胆创新和实验先锋… 期待will成为游走于各大电影节的颁奖季常客。
此处再夸一波BC的演技，就说那个“要失去”和“已失去”的状态，抓得太好、太精准了。要失去时的不舍、不安、克制和压抑，那种小心翼翼的天塌地陷

看到捡到Peter的时候我突然想起《项脊轩志》，“庭有枇杷树，吾妻死之年所手植也，今已亭亭如盖矣”。总感觉这种跨越时间的思念与爱是相通的，看似若无其事，但悲痛已融入生活的每个缝隙角落。猫对于Louis来说就是缅怀和纪念Emily的枇杷树，就像结尾那个火车上的男人说的， “I think she wanted you to keep painting, so you would not be alone”。

路易斯·韦恩的激情人生：创造快乐是为了让自己不感到孤独
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