那個(gè)時(shí)候，正是意大利經(jīng)濟(jì)迅猛發(fā)展的時(shí)刻。
那個(gè)年代的年輕人現(xiàn)在正享受著醫(yī)療等各種福利，在意大利全境養(yǎng)老。
沒辦法，都是這么過來的。這就是人生！
(未完待續(xù)）

工作，很多時(shí)候是校園生活的延續(xù)，同時(shí)也是毀滅。
絕大多數(shù)的企業(yè)單位都延續(xù)了學(xué)校的條條框框，固定的時(shí)間，固定的地點(diǎn)，以前被成績壓迫，現(xiàn)在被業(yè)績壓迫。
同時(shí)，校園的純真又被毀滅地幾乎一干二凈。身邊的人不再是下課也一起玩耍的同學(xué)，而是下班就各走各路的同事，真心的朋友越來越難交。以前討厭一個(gè)同學(xué)遠(yuǎn)離即可，后來討厭一個(gè)同事，卻會因?yàn)楣ぷ鞑坏貌焕^續(xù)與其交流。
類似這樣的情況，有人1961年就拍成了電影。埃曼諾·奧爾米用樸實(shí)紀(jì)錄的風(fēng)格打造出一部《工作》

A humanist masterpiece. The film is certainly against the dehumanizing aspects of corporate life, but one hesitates to call it a "protest" movie, like some of Chaplin's repertoire. There is no expressed anger, but what I see as a reasonable, controlled indignation, made poignant by sympathy and sensibility.
Olmi's films never disappoint. His technical background gives him fine eyes for the subtlety of light and shadow in black/white cinematography. His two best-known works, "Il Posto" and "Il Fidanzati", are the epitomes of B/W accomplishment.

口碑經(jīng)典的喜劇片 《工作》很重要，但別忘了自己是人類
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