噪音

From the creators of "The Believer演员的表演和台词的华丽凌驾于剧情的逻辑和真实感之上，

可以说没有一个情节让我入戏", winner of the 2001 Sundance Grand Jury Prize, comes a black comedy about a man caught in the most impossible of conundrums: in love with his hometown, New York City, but driven mad by its noise. Transforming himself into "The Rectifier", David takes on everyone from the schmuck19年最佳备选，

无与伦比的张扬风格。

相比《春假》的色彩标识和跳跃叙事，

科林更进一步，

在剪辑、对焦、色彩构图上既同时着力又皆有其风格浓郁，

即使是线性对话时间中插入镜头形式的相似，

但每每出现仍因节奏、角度和色彩的变化而给人以强烈惊喜。

关键的叙事线索往往一笔带过，

但其潜在威力却在影像的洪流、稍令人疲惫的然后看完才明白...这片名原来...说的是屏幕前的我啊音乐和男主偶尔出现的木然神情中缓缓流淌。

如果说《春假》是不加修饰的自然野性，

《流浪汉》就是精雕细琢的人工魅力，

相比较而言，

我更喜欢本片从主题、情节、叙事形式、表演特质、声音设计、画面风格都沾染“流浪”的艺术光彩 who ignores his own car alarm to the city's most powerful citizen, the Mayor. As his daring grows, New Yorkers rally behind him inspiring David to win this fight by the most ingenious of schemes.