Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.
Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)
As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.
The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).
Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
“摩擦才有改变的动力”。
还是觉得不太得劲。最能表达主题的两场，一是女生领奖后抢过麦克风的宣言，一是男生躺在病床上对母亲的哭诉。都是用长段的台词来自陈自我剖析，很不爽这样的表达。
就很适合情人节看呀，李濬荣是赏心悦目的小奶狗。
韩剧/影十多年来是真的没有进步啊
是理想状态的青春了，有不安有迷惑有朋友有喜欢的人有对世界失望也有对世界的渴望。其中印象最深的是男主的一句话：“如果世界没有摩擦我们就没法前进了”（大概的意思）。对比现实我们生活在太多所谓的“保护”中，失去对自我的追求失去提问的能力。（最后。。。每次看到今井翼出场我都会吓一跳
男主真是太可爱了！徐贤现在也好美！有点变态的剧情也刚刚好够脸红心跳
浅原直人原作改编，一看就不是符合当下主流思想的作品。更多讲的还是对于BL群体的认可与接纳，包容与和解。人物刻画很用心，对主题的升华也不肤浅的停留于表面，是基于原著的深入挖掘。节奏非常棒，神尾弟弟虽然演技还需提升，但总体看来对人物的把握还算精准。无论是与三浦，与大叔，还是与素未谋面的网友的戏份，都很走心，耐人咀嚼。跳楼一段很压抑，却也符合日式「青疼文学」的基本特征。开放式结局有些保守但击中人物心理与当下挣扎的「社会环境」。总体很出彩，这样的电影可以多来一点，好看。
同样是高中时，我也有过类似的经历，只感受到痛。
真悲伤啊 但也够美好了吧｜勇气 把自己摊在其他人面前的勇气 和 面对这个并不能假设摩擦力不存在的世界的勇气
男朋友背着自己在外面做0的腐女惩罚……虽然也想拍得深刻点，不过小朋友们演技还是差了点，好在颜值很高，还行吧。
被形容为开头很恐怖，中间很搞笑，结尾很悲伤，故事是这样的：从前有一个鬼，他放了个屁，然后就死了...这部电影也可以这样三段论：开头很搞笑，中间很悲伤，结尾很温馨
给了个好结局😌
有点小刺激的片子呢，把整个DM拍的充满了浪漫的色彩，看得上头却没有不舒适的感觉。尤其是那段男主被女主鞭打的那段，我看着也觉得他好享受呀，虽然我怕疼，但想想感觉应该还是很不错的吧。每个人都有自己不同的癖好，没有必要因为自己的不用而感到羞耻，更没有必要因为感到羞耻而去违背，遮盖自己的真正的心，顺从它，只有那样你才会快乐，而人活着不就是为了快乐吗？世界之大，无奇不有，拥抱并且接受这个并不完美但却无比可爱的自己吧。
“我喜欢的是BL以及安藤””我喜欢的是男人以及三浦”。腐女、男同在青少年时期的身份认同、性倾向认知的一次自我认知与社会普遍价值观的冲突，总体还是可以的，但是感觉还是没有《17.3 关于性》的深度。
腐女喜欢满世界的男人都是BL，除了他自己喜欢的不是……
纯爱版喜剧版《穿裘皮大衣的维纳斯》，哈哈哈，但男女主颜值还可以，能看……不过女主只是表面上的支配者其实完全被动，看得我内心渐无波澜😅啥时候能拍一部纯由女方主导关系的，羞耻地想看
演员挺可爱的（男）人设太单薄了。原作一看就是给小孩看的漫画。。。
能拍这种题材的也就奈飞了，无时不在提醒，任何的个体都可能成为小众，所以要更尊重他人的取向，这也是一种平权
除了获奖发言那段有点过于日式煽情外，其他还是挺细腻的，一星加给神尾的颜
2.5，喜欢前半段，后面就太理想了。其实更让人忽视的难道不是，纠结于身份认同的人在意社会的看法，更确切的说是“不认同”的那部分人的想法和态度，那没有怪过你的人呢？不在乎你取向的人呢？是可以伤害的吗，可以用来实验的吗，是退路吗，是幸福的便捷道路吗？三浦说“你希望我怎样呢？”，你希望她们怎样呢。
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