因为看的是平遥首映场，所以能够看到导演录下的映前视频。 视频里，一张看起来柔软舒适的扶手沙发，一个洁白的看起来很先进的电暖气，一个男人带着口音的英语声音。 情节和环境都有了，只是没有人物。 “你知道的，我们每个人都有隐形的时候，只不过你们刚好遇到了我隐形的时候。”导演的声音回旋在小城之春的影厅里，我在黑暗中听到了观众们的轻笑。 也是第一次在导演的视频里见不到导演呢。 真是个有趣的人。 说回电影吧。 黑色幽默伴着离奇的故事延展，节奏缓慢，但从不缺惊喜的设定与细节的安排。 比如狗狗瓦迪和他朋友们的故事，童话式地在库塔伊西镇这片真实的土地上用狗狗的小脑瓜思考哪里是看球的最佳去处。 而最令我动容的，是瓦迪宁愿没有朋友陪着也要去剧院后面看球，因为这是传统。狗狗都有一个信守的念想，可往往活着的恶人们却都没有。 也许是我的幻觉，我总觉得整个故事的风格与叙述方式非常的法式，我甚至在观影过程中脑子里闪过了《天使爱美丽》的画面。 对我而言，这部电影最大的亮点必然是音乐，没有之一。音乐像是这部影片的船锚，音乐起了，影片的情绪与色彩也就跟着飘起来了。 竖琴的弹拨让灵动奇幻的氛围感包裹着屏幕，随后又注入双簧管作为铺陈，现实的故事就这样在格鲁吉亚缓缓启幕。 最后的最后，旁白说，这就是个离奇的故事，它其实有很多不合理的地方，它离奇它对社会毫无作用，但是在世界上，这样离奇的事情就是每时每刻都在发生。

所以我想，仰望天空时我们到底能看见什么呢，也许就只是天空吧。

看到天空，还不够吗?

这是我为数不多看完预告片之后就爱上的电影，期待了几个月也果然没有失望。如果借用电影的风格描述科贝里泽的新片，那么就像柏林学院和新浪潮的巧妙结合，也像遥远的格鲁吉亚吹来的一阵夏日暖风。与金熊奖《倒霉性爱》中布加勒斯特不同的是，库塔伊西的城市掠影中所展现的是一种浪漫抒情至极致的生活之美。

电影以一段被诅咒的奇幻爱情邂逅开启，但与常规的爱情故事不同的是一直隐忍暧昧的镜头和超现实主义的情节。短暂的两分钟脚部特写讲述了二人的偶遇，夜色下人物小到几乎看不见的大远景讲述了他们的第二次相遇，没有面部特征，没有更多的动作描写，我们只能依靠对话听到他们的故事。在旁白的引导下，Lisa似乎可以与周围的万物交流，她听风说她和Giorgi这两个陷入一见钟情的人会受到诅咒，一觉醒来，他们果真变了样子，也失去了他们得以谋生的技能。这两种独特元素的加入创造了“互相认不出却彼此有联系”的遥远的亲切感，一直延续到影片的结尾，两人在同一时空甚至很多时候同一景框中，两个人的生活相互独立，隐约的关系却时刻可爱地跳动在荧幕上。与这两个半小时的氛围相称，结尾是久违的完美结局，咒语消失，两个人在机缘巧合中一起拍照，恢复了原来的模样，依然隐忍暧昧，但爱意氤氲已然与周围闲适浪漫的环境融为一体。

也正因为这种遥远的亲切感，使得影片在不丢失主线的前提下更加合适地嵌入库塔伊西的城市群像：关于两只狗狗的拟人化处理，夏日中看球的大人，聚会过后相互道别的年轻人，踢足球的孩子们，城市和乡村道路的远景，扔水壶的大爷，人们脸上的笑容，树枝，河流……科贝里泽通过这种片段式的处理渐渐搭建出一套完整的平静安好的电影空间，让观众的视角同摄影机的视角一起作为这座城市的观察者和Giorgi与Lisa爱情的见证人。看到最后，我们会感觉到，导演并非是要讲述一部美妙的成人童话——它只是小镇生活中的一隅，是镜头下美丽生活的一处小小佐证而已——而是以可爱细腻的眼光去看待不完美的生活：“一切都按应该的那样发展。”旁白的声音与导演的心声合二为一。

就电影风格而言，它其实不仅仅是我前面所说的柏林学院和新浪潮的巧妙结合：除了城市形象，灵性的旁白、观察角度和侯麦式小品外，科贝里泽还加入了布列松式极简主义特写（如脚部特写，被打碎的玻璃杯等）以完成前期构造的疏离感，以及默片叙事形式。很多小情节中，音乐代替对话和环境音效成为叙事的动力源，通过音色和调性给观众或和谐或不和谐的听觉体验，并将这种体验实时带入剧情中。这种多元的电影风格观感真的非常美妙。

饱和度极高的16mm胶卷为镜头带来了绘画式的眼光，亮绿色为主的色调为库塔伊西带来了十足的夏日氛围。在镜头频繁的推拉中，个人视角和社会环境相互切换转移，也构成了娓娓道来的极佳节奏。此外导演还有一个非常新颖可爱的与观众互动的小设计：在Lisa入睡的时候也让观众在倒计时后徐徐闭眼，这不仅仅是“打破第四堵墙”的一个巧妙想法，同时也是在导演观众的行为和思绪，也可以说是一种短暂的沉浸式体验，让第二天会变成什么样子的悬念变得更加吊人胃口，我猜没有人会在看到这段的时候不会心一笑的吧。

在影片结尾对俄罗斯文学巨匠尼古拉·果戈理的致谢中，旁白遗憾地质疑了这样一部似乎对世界没有实际利益的电影的意义。在混乱、充满利益的世界中，这是一种理想主义却微不足道的反抗。当我们仰望天空时看到什么？至少还有人在谱写生活之诗，也有更多的人看到了他。

<02:26:06> : “Such things do happen, rarely – but they do.” (9.5/10.0)

中字翻译见推送链接：

//mp.weixin.qq.com/s/vNTgn1hkangju5cgFrpZ0w

【1】

In PingYao International Film Festival, the introduction of your film and some of the behaviors in the film are very interesting. You are always an «absent presence» to remind the audience that although you did not appear, you emphasize it is absolutely your own artistic work. Is this interesting interaction a little joke you made to the audience? Or do you want to remind the audience of some other meanings ?

Now I’m working on a film with an invisible character, a man with no body but with a voice and I try to understand how I shall film him. I intend to film this character exactly the way I film the other ‘visible’ ones but I still don’t know how it will work and if it’s possible so every time I have a possibility to try things out I try to do it. Also I had a feeling not being visible in front of the camera.

【2】

Actually, for the audience, if you don’t know enough about the global history, intellectual history, civilization history, football history, and the common sense of the 20th century, it’s difficult to fully understand some of your ideas in the film. Then after watching the film, we have to go to make up the lesson in order to better understand your meaning. Do you think the audience will have some kind of loss or other feelings because they don’t understand your film?

Myself I’m definitely not an intellectual, I consider most of the people smarter and better educated than I am so I don’t think anyone will have a problem to understand the film I made. Filmmakers thinking they are smarter than the people who will watch their film make mostly terrible films.

There are films made in Hollywood for example, you watch them and you feel insulted because you feel people behind this film consider you as dumb and silly person but in the end it’s always other way around.

【3】

What emotion do you most want to express to the audience? My understanding is the importance of “love”. And you are a great director, even if these details are not familiar to the public , we can still feel your charm as an auteur-director.

I can’t say I know from the beginning exact emotions or ideas I want to share with the film. Of course there are some, but as I have experienced it, sometimes you think that you feel and think one thing but actually it’s completely different – and when you make a film that’s what you learn, you may think you want to make a comedy with fun and happiness but it’s full of sadness or the other way around – so it’s about trust, you have to trust the work you do.

【4】

About cinematography: you use a lot of close shot and close-up in the film, although it looks like a zoom-in to some extent, but it actually gives people a feeling of paying attention to the portrait itself, very close to the person. But the perspective has always been polite and objective. Is this the attitude you maintain in filming? An attitude of keeping a proper distance from the subject.

I think the distance is one of the most important tools while making a film. Let`s say physical distance - however do you go to the object or person you are filming physically is a decision which defines the character of the film, no_t_ only this of course but it makes big difference.

When you show a close up or detail - you go with the camera and near or do you use a lens which allows you to stay bit away, this kind of decision is not only about how sharp or not sharp the background than appears and not only the feeling of being in the scene or being a spectator of the scene — it‘s also always a statement from the filmmakers — and there is no right or wrong, you just have to find your own distance.

【5】

About the experience of watching the film: does the cue tone “close your eyes-3, 2, 1-open your eyes” put the audience into the dream of the movie or in reality?

I have not thought about it this way — but I like it. You close your eyes here and open them somewhere else. Here Leo Messi still has only World Cup Silver — there it‘s Gold, here it’s hard to get your photo developed in Kutaisi — there we have a laboratory to develop 16mm film in the same town..

I have to think more about the concept you propose. For me it was a game, a way to start a game with the audience, to go back to the time when cinema was related to magic and all the spectators felt like children.

【6】-【未回答】

About the symbol of “football”: For Chinese audiences, they do not know much about the history of Georgia and its neighboring countries, but they do know a little about football. In the film, you treat football and football match as a big environment and event concerned by the collective, while emphasizing more on emotions between individuals. Does the «football» in the film have more symbols of the times and group significance?

【7】

In this film, I can find some echoes of familiar texts. For example, the scene where an actor and an actress meet at a crossroads reminds me of poet Wislawa Szymborska’s poems like Love at First sight. A famous Chinese painter once drew a cartoon entitled Walk Left, Walk Right based on this poem.

The whole shot is so beautiful and poetic. In addition, the use of anthropomorphic objects in the film also enriched the color of some «surrealist» style. But it’s worth noting that the film’s tone is both realistic and fantastic. Do you find it’s contradictory? Or are you waiting for the audience to discover your design？

It is interesting that you mention Wislawa Szymborska. In Kutaisi, in the city where we made the film, on Galaktion Tabidze street you will find her poem written on the wall. That’s how I discovered her months before we started to shoot and I think it was important for the film.

Now as you mention her name I understand how things invade you, become part of your life and even part of things you do without you consciously planning it. Where can I find the painting - Walk Left, Walk Right?

My Idea while making the film was to give a space to things happenings, occasions which are considered unusual or impossible nowadays. All the things which seem to be magical are meant to be real – I don’t ask a tree to speak in my film because I want it to be a symbol for something else – it-’s- speaks in the film only because it can speak in our world to – I have never heard it but means nothing.

【8】

Could you explain the meaning of the film’s title? My personal understanding is: the sky is something shared by all mankind, just as «love» is an emotion felt by people all over the world?

Always when Leo Messi scores a goal he looks to the sky, I was always impressed by this gesture and his connection to the world above us. He has his own reasons to look up and so does everyone. It is a universal gesture with very private experience.

For ages people were looking to the sky and seeing different things – now we are given in the school very precise answers about what is up there but my feeling is it will change again.

【9】-（未回答 其实也不用答 完美忽略我的废话问题 默契）

Do you know much about the young directors in China? Which Chinese director’s works do you like best?

【10】

Is there any sequential connection between your new work and your previous works? We are really looking forward to seeing the previous works.

While doing this film I tried to make a distance to the previous one, there is always a danger that you will find a comfortable way of working and start to repeat yourself but I also did not wanted to forbid myself something so I just decided to follow the wishes I had and now I see that there are more similarities between two films than I had planned but I also have no Problem with it – the film is very personal and apparently that is the way I feel in the very moment, I could make it differently but this is more sincere – sincere towards myself.

【11】

It can be inferred from your work that you are familiar with film language, and you have a solid foundation of film history. When I watched it, I felt that you were trying to subvert the entirety of the form and take the film language as the representative of the language system. Can we understand it this way?

I have always loved watching films but I am not a cinephile, I have seen some films but there are films someone who makes films has to have seen and I have not made it yet - I know many people around me who have seen and watch now more than me.

For me filmmaking has become the way of living, that‘s what I do — I make films and I try to understand how it works, I have some tools and some knowledge, some experience but not much of any of it yet - so I make films and through doing it I try to understand it what it really means.

【12】

The film is filled with many local compositions, and a large number of close-up shots and Close shots, which reflects a seemingly dynamic but static beauty. It feels like a return to the montage trend of early film history, and I personally use a word to describe it — 「photo montage」.

This is meant to emphasize the sense of photography, stillness, and immersion of a single frame/single shot, which together coherently make up countless paragraphs of the film. Together with the sound, the unique appearance form of this film is achieved, which will give people a real and cordial feeling of watching the film. Do you intend to return the freedom and randomness of film creation?

I have a feeling that in first few years, when people started to make films in the beginning of the past century everything what can be done with a film was done. The thing is sometimes it‘s hidden, sometimes it’s just a second. It is so concentrated if you don‘t look very very closely it’s impossible to see.

So they did everything - it‘s like they (the early filmmakers) planted a tree and this tree started to grow and it could have had many, hundreds of branches but the Industry started to follow only one branch saying this is cinema and everything else is everything what you want but not cinema, they call it experimental cinema, art house, autore cinema - and by doing it they exclude all the forms which don’t suit the hipe out of the daily life everything what does not have the usual length and does not tell a well understandable story is considerd to be less cinema, to be something strange, some kind of a monster - but we know this kind of mainstream cine is only one small branch of a huge tree, it is not even a big branch and it‘s important to climb all over this tree go also to the top of the tree that’s where you can see from that there are other trees too.

【13】

Would you like to share with the audience some things that impressed you during the filming of this film?

I was doing my previous film almost alone, this one we did in a bigger group and the difference is huge. I love both but before starting this one I had some concerns - regarding the possibility of making something personal while not being alone - apparently it‘s possible.

Not just possible but it can be very beautiful when few people work together, everyone puts his or her personal and private things in the film and in the end it all can be one thing - one film.

【14】

Do you think our way of «close reading» runs counter to your original intention of making this film?

I was touched by the way you thought about the film and I think I have learned some new things about it so - thank you.

翻译、整理于2021/11/22

简介就很引人入胜！ 好电影可以不讲故事，但好电影一定有故事。 看简介以为是个魔幻的爱情故事，从城市出发去寻找生活的意义。根本不是。 影片并不简单围绕丽莎和乔治的爱情展开，里面什么镜头都有，我想这才是电影的样子。生活不是故事，爱情之外还有很多东西，固然电影作为一个载体要尽可能集中地强调矛盾冲突，总是这样强调也是不对的，那样偏离生活。浪漫之外，我们还有世界要去认识。 故事的确很魔幻，从生活中脱化出的魔幻，足球，工作，外貌，人际关系，咒术，灾难，等等这些都是一个世界里真实存在的，电影一般忽略掉这些与推动情节渲染气氛无关的东西，但在这部片子里它们被强调。 每一个镜头都很好看！ 我们仰望天空时看见什么？不只有爱情和星空，还有任何肉眼可见的事物，飞鸟飞机纤尘吹过的气球垃圾，这才是生活的浪漫，你不抬头，你都不知道天上会看到什么。

对于爱情也做了很好的探讨。失去容貌、才能和工作的我们还是我们吗？失去这些的人还能像爱未曾被剥夺的彼此一样吗？爱是什么，不是爱工作不是爱外表不是爱才能，心与心的链接，那才是爱。

《当我们仰望天空时看见什么》这部电影由Aleksandre Koberidez导演，是一部上映于2021年，带有浓烈奇幻色彩的格鲁吉亚电影。剧情大概是格鲁吉亚的一个古城里，Lisa和Giorgi在走路时意外相撞两次，他们再见起掉落的物品起身后忽觉爱上了对方，在没有告诉对方自己的名字和联系方式的情况下就定下了第二天在桥头咖啡厅的约会。故事从这里开始变得奇幻了起来：Lisa在回家的路上路过幼苗、监控摄像头、排水管还有风四位朋友，被幼苗告知自己中了邪恶之眼的诅咒——第二天早上她的外貌将会完全改变。影片中观众根据导演的安排闭上眼睛，“叮”地一下，Lisa和Giorgi完全变成了陌生的模样。与此同时，他们也失去了做他们最擅长的事的能力：Lisa不再能看懂医学笔记，失去了在药房的工作；Giorgi不再会踢足球，只能在一旁落寞地看自己所在的球队训练。他们分别找到了一份新的用来维持生计的工作，在工作中等待对方迟到的赴约。由此，他们都以一个新身份、新视角重新进入平淡的日常生活。巧合的是，一位电影摄影为满足导演的拍摄需要，要在小城里找到50位情侣上镜，她找上了Lisa和Giorgi。以此为机，变了模样的两人再次相遇，内心距离被拉近。在电影上映时，他们在银幕中看到了原本模样的自己，顿悟，两人在找到了彼此后便消失了。

电影的叙事是借助旁白完成的。旁白作为故事讲述者，不同于我们常见的线性叙事、逻辑严密的电影，而是自然地用充满漏洞的语言向他所在的另一时空的后辈讲述一个看起来有些无厘头的故事。电影的结尾，他说：“你也看到在我们的城市发生了什么故事，直到现在，经过深思熟虑后，我们才看到有很多东西似乎是值得怀疑的。但最奇怪、最不可思议的是作者如何选择这样的题材？首先，这对社会没有任何意义，其次，再说一遍······没有任何意义。顺便问一句，有哪个地方不发生匪夷所思的故事呢？”在观看影片时我有许多不解，试图理解旁白如此讲述的意图。但在最后这段看似古怪的电影结尾中，导演直白地把他的创作追求全盘托出：他就只是想简单随意地讲一个故事。对，他关注更多的是“讲”而不是“故事”。

作为这部电影中最关键的要素——“讲”的方式，镜头语言的使用非常有特色。在电影前几分钟内只剪辑了景观群像然后过渡到行人的脚部特写（女主角的皮质雕花平底鞋让我印象深刻）。男女主角的初次入镜也只是用固定在低位镜头拍摄的从镜头两侧进入画面的两双脚、相撞后掉落的东西、捡东西的两双手、走出画面的脚，随后两人调转方向，仍旧是从镜头两侧再次入镜的两双脚、掉落的东西、向下进入画面的两双手、走出画面的脚。没有提供任何两位主要人物的正面描写，用极其形式化甚至略显单调的镜头语言刻意展现出故事讲授的含混以及听者在接受讲授者信息文本传达时的信息被削弱后的局限性。这样的影片开头也定下了全片的基调：用类似散文诗的语句并不正式地讲述一个让听故事的人觉得无限接近日常生活但并不完美切合逻辑的奇幻故事。

我们每天都在讲故事，同时也生活在各式各样的故事之中，久而久之我们自然地把故事当作现实。我们常常忘却历史是故事、信仰是故事、律法是故事、国家是故事、现代商业体系是故事、全部的人类文化都只是故事。在这样一个人们习惯性地将故事严肃、庄重化的时代，人们在现实中为故事结盟或是争战，甚至连在“虚拟的”网络空间，人们都对自己发出的一条条评论、一段段讲述严肃以待，习惯性地将接收到的信息看作真理。我们如何能重新轻松地对待故事？为何不能容忍故事出现明显的逻辑漏洞？我们信仰的逻辑、因果本身是可靠的吗？我们还有随心诉说自己的故事的可能吗？导演在这部电影中进行发问，同时尝试给出自己的答案。他急切地希望和观众探讨这些问题，而观众的反馈将成为这些问题的答案。

在电影工业发达的今天，长期浸淫在美国商业大片中的观众和电影行业从业者们对电影编剧有了一套完整的写作规范以及评价标准。人们对于影视叙事严格要求合乎情理，情节跌宕起伏，有着激动人心的高潮和令人叹息悲痛的低谷。然而在《当我们仰望天空时看见什么》这部电影中，作者反其道而行，电影中的很多情节、台词都刻意地向观众提醒了符合他们对电影叙事认知的类似剧情发展的线索。然而，当观众满怀信心地顺着这条线索希望进一步窥视事态发展时，却惊奇地发现自己辜负了——剧情仍旧按原来的节奏平缓进行，没有任何预料之中的高潮到来。比如影片中Lisa的室友告诉她本地音乐学校有一个人能够帮助她解开身上的咒语，Lisa确实去了。在高处俯视的镜头视角下我们看到她的红色平底皮鞋在楼梯上层层前进，仿佛一圈圈逐渐步入一个方形迷宫的中心。随后她被一扇门里走出的一个人带领到另一扇门里的另一个人前、再到另一个人前、再到另一个人前。过程平静，每一个环节Lisa都要在门外等待一段时间。观众的期待被引导着逐渐递进，仿佛这令人费解的咒语马上就能解开。但Lisa进入最后一个房间之后便没有后话了，镜头切去别处，再次拍摄Lisa时她还是变化后的模样。在几次这样的小技俩后观众便意识到他们不用按照一个标准的故事范本去期待这部电影的走向。

电影的配乐非常出色，主要是由木琴和钢琴演奏的。木琴的音色自带一种脆而朦胧的效果，有时还能表达一定的俏皮感。它的声音与镜头在运动时对局部身体的关注以及毫无预兆的较为静止的无人远景呈现间的切换相配合，使叙事呈现出一定程度间接、神秘的效果。钢琴弹奏的音乐则休闲明媚，非常切合午后阳光灿烂的暖色古城调性。值得一提的是在Lisa在音乐学校找人解除咒语的段落，学校里传来的乐器练习声便主要是这两种乐器，学生练习钢琴和木琴的镜头让全篇的配乐更有了一定的合理性。这些配乐和影像相互呼应，共同构建了电影的独特氛围。而在后面部分一场虚构的世界杯比赛期间小镇孩子们踢的一场足球比赛的慢动作拍摄画面激烈，这个片段被配上了意大利世界杯热血的主题曲，我很喜欢。在音乐的高潮中，孩子们把足球踢出球场护网，球直直地落入江中的慢镜头的呈现非常幽默，这样的剪辑和配乐使这一点看似平庸常见的小趣味无限放大，观众感知到导演捕捉到的无聊小趣味，会心一笑，这本身就是故事讲述技巧特有的魅力。

这部电影就是这样，由看似无聊的可爱小趣味堆砌，被值得质疑的旁白串联成一个缺乏前因后果的故事。当不能讲好一个故事时，这一切语言还有意义吗？我认为根据这部电影传达的信息，表达这个行为本身便已是值得关注的。往往人们需要借助一个特定的故事来表达，久而久之，对故事本身的关注远远高于讲述。但经过时代洗礼后，洗去表层尘埃，对于欧洲教堂的圣像画、中国的文人画、表达神话传说的民间艺术······来说，故事是什么反而变得不再那样重要。我们只需要在知晓故事后将其抛弃，花更多心思在关注表达的语言上。

在《当我们仰望天空时看见什么》这部电影中，时间是虚构的、模糊的；情节是纠缠杂乱的；人物动机不清晰。镜头语言刻意降低信息量，观众就像和一个生活在自己世界的陌生人进行了一场全然随机的对话。在这场对话后，我们没有任何收获，只是倾听了一个人用含混的语言讲述一段他的视角的故事罢了。没有作用，这样的对话本身是无意义的，但我们总在这么做，人类个体间需要这种交流，且对此乐此不疲。也许是人类本性的窥视欲作祟，我们总需要他人视角的观察和叙事，而交流便是在交换叙事。导演科贝里泽在这次创作中抛弃了用道理、用逻辑包装后给人真实幻觉的叙事，转而使用最本真的语言满足赤裸的叙事欲望，大胆地让自己的表达更个人、更跳跃、更性格化，从而引发观众对故事、现实和认知方式的思考，这是很有趣的一次观影体验。

说实在的 我需要一部这样的作品

假设每一部电影都是有性格的 那对于近期很浮躁的我来说 这部电影就是适合的 是作为平息浮躁的媒介出现的 于我而言 它是那种讲了什么故事不重要 但是安安静静沉浸其中 平和地看完就好的电影

重要的是"感觉" 你在看的过程中感受到了什么

比如我不会去探究瓦尔迪和默茨卡拉两只狗狗相约去看世界杯开幕式这件事情 导演想表达什么 探究现实与奇幻在影片中的关系等等 这些我都不会去做 看到这类情节我丝毫不会怀疑和试图去做出解释 而是认为在导演塑造的影片世界里 在格鲁吉亚的库塔伊西 这件事情就是不突兀的

比如有路人来借鱼线还是什么线 他们玩着线笑的很开心 这份开心感染了男女主 当下的我看到那几张笑脸 即使在屏幕之外也被感染了

比如店老板和男主一起去搬东西的时候对于是否把蓝色的一面放到下面而有了不同的意见 但是彼此平和地沟通 "我会重视你的意见 也许是我错了 但也许是你错了 我们可以一起在看看" 如果世界上的每份沟通都能像这样该多好呢

还有一个情节是 有几个人来买冰淇淋 但是要等上一个小时 但是他们愿意等 当下的我想到的是 我也会愿意等 不仅仅是一句空话 而是在无数次的选择里被证实了的我的选择 在那一刻也意识到了 我想要找的同行的人 也是会选择"愿意等"的那个人 这个决定背后蕴涵了数不清的生活态度和选择 你很难通过众多线索去辨别 但只要把ta置身于这种情形下 ta的选择便会告诉你所有的一切 即使不延伸那么多 为了美食我总是愿意等的 这个美食不仅仅指好吃的食物 还有生活里许许多多美好的得到了/做到了就会让我快乐让我感到值得的事物 因为这一份情绪对于我很重要 不是别的随随便便的替代品可以打发的