2017年7月より第2期(⏭)として『むさしの。张大湖看(🈚)了(🕵)看自(🖨)己那碗，要(🤴)知(🖊)道自己今日(rì )吃的很少，是个(gè )人(rén )都能看出来(lái )他没吃(🏀)饱了。串爆等人(🎅)顿(dùn )时不寒而栗，他们凑在一起(🐍)：霍少动了(㊗)真火，一定要摆平洪兴。Rivetteisrelativelypreciseinhisdealingswithmeaning.HeisthemostatavisticallyceremoniousoftheVague,inthesensethathisabstractionasajourneyleadinginwardsisalwaysattendedbysignsandcodasthataffirmourpassage.Thetranscendentriteofpassage,inmorewaysthanone,isaboutthesymbolicenactmentthatpavestheway.Thetranscendenceitselfislefttooursphereofexperience,butwereatleastbroughttothedoorstep.Oh,therestheimprovisationalflowthatseemstothrowpeopleoff,thatthingsseemtoberandomlybubblingupfromnothingwithoutsignificantplanorsubstance.Thechanceencountersinaworldthatwemayrecognize,thegeographyvaguelyfamiliarwhosenatureisyetultimatelyinsoluble.Theresalotofthathere.AsinCeline,itisthebreathingspacethatconductsourpreparationtostepbeyondthemechanismsofreason.Wedontreasonwithit,rathertrustitsintuitiveflow.Likethedreamworld,itisonlythefigmentoftheknownworldspontaneouslyarisenasastageorblankslatefortheatavisticportentsanddivinationsofthesubconsciousmindtobewrit.Buttheriteofpassagematters,inspiteoftheseeminglyaimlesswandering.Hereitisabouthumanefforttobypassthewallofparadiseconstitutedbythecoincidenceofapparentopposites(goodandevil,lightanddark,beingandnon-being).Abarrierthatobscuresvisionandtrapsinaworldofnamesandformsthatisonlyanapparentreality.Renderedinthefilmastwingoddessesofsunandmoon,vyingforapreciousstonethatenablestheirdescendintothehumanworld.Thehumancharactersaremerepawnstotheirschemes;tobeseduced,tricked,threatened,orultimatelydestroyed.Twinfemmefatales,weavingspellsinaninversenoiruniversemagnifiedintoamacrocosmicstruggle.Theill-preparedmanwhochancestostealaglimpseofthemintheirtrueform,likeinthemythofActaionwhostealsupontheGreekgoddessArtemisbathingnakedinapool,hashisconsciousnessshatteredbytherevelation.Hismirroredimage(thesoul,thereflectedhalf)iscracked.Thewomanwhofinallyshatterstheillusionarydualitythatquarantineshumanconsciousnessintomeaninglessdilemmas,doessobyasacrificeofblood.Andthisistheproblemofthefilm.Somuchofitisastridentlysymbolicenactment,amatterofceremony.Thesacrificeis,quiteliterally,amatterofspillingblooduponthesymbolicstoneanddoesnotflowfromanything-itissimplytheschematicendofthespiritualmyth.Althoughvaluableasinsight,themeaningofthefilmistrappedinsidetheritualsperformedtosignifyit.Havingcrackedtheoutershelltoabsorbit,thefilmseizestoresonate.不(bú(🥔) )过宫(💂)煜城没(mé(👌)i )有告诉程(chéng )五，程五也只(zhī )是一(🔂)知半解(📌)，并(🏃)不都(🔆)(dō(🔩)u )清楚，说的(🥕)也(🛸)模模糊糊。我的话像一颗炸(〽)弹，在人(❇)群(qún )中炸开了锅。白(‼)兽不给机会，乘(👼)胜追(zhuī )击(🎒)。乌索普(😉)(pǔ )现在还只是向往成为海(hǎ(🈲🈲)i )贼，并(🔢)(bìng )没有真正(🔩)走上这条路，所以他的(🌝)善恶观念还没有完全定型。虽(🛩)然他(tā )跟(🍸)乐乐不像和顾潇(xiāo )潇(xiāo )一(yī )样亲近(⚫)，但那是因(yīn )为(wéi )乐乐性(🗑)格腼腆。