片尾的原著献词让这部电影悲伤到了极致。心疼泽泽，他明明那么聪明可爱，却生在那样的家庭、被视作恶魔、被同龄人霸凌。喜欢他的叔叔得病离开了，给他如父亲般温暖的老葡车祸离世了。现实生活中给他一丝美好的姐姐和弟弟都在二十岁左右的年龄自杀，只留下一个孤独的他，六十多岁也去世了。而另一方面，我又羡慕他，拥有和叔叔、和老葡的美好和温柔。“献给你，我年少时最深的怀恋，最好的朋友，Manoel Valadares先生。这世界最初的温柔，记得是你带给我。”

Ingmar Bergman may have meant the tank rumbling down the empty night street in The Silence as a phallic symbol. But if he did, it was a foolish thought. (“Never trust the teller, trust the tale,” said Lawrence.) Taken as a brute object, as an immediate sensory equivalent for the mysterious abrupt armored happenings going on inside the hotel, that sequence with the tank is the most striking moment in the film. Those who reach for a Freudian interpretation of the tank are only expressing their lack of response to what is there on the screen.

其实从开头我就知道是学生爱上老师的故事，故事很平庸但讲述方式太强大了

精彩分呈 基本上每分钟

吃包子的时候从来不会思考阳光，因为裹腹只是为了生存。喝咖啡的时候不会担心阴雨，因为慵懒是为了生活。我们活在了一个有了包子但不知如何品味咖啡的时代，向往着诗，却没有真正的痛苦与挣扎，唯一的迷失，还是那无底的房价和不甘的梦。追捕的不只是聂鲁达，是没有翅膀的飞翔。