Chaos is not disorder but a higher order of the universe.
- The Chaos Theory.
如今那些标记着“已阅”的片子里，多半已忘记其中的起承转合与悲欢离合。昆德拉说，只有一次等于一次也没有，只活一次等于一次也没活。希望书写感想的过程可算作第二次经过，让投入到观影的那一百多分钟生命不至于消失得悄无声息。
I. If we cannot see the wind, we can see the wind’s will.
弥留世界里的老人Leon提到弗洛伊德的一个梦境阐释——burning boy，在我印象中，结局是那位痛失爱子的父亲梦醒后来到灵堂，发现火苗果真灼烧着儿子的小趾头。上课不认真，说不清这对于证明“梦是愿望的满足”有什么帮助，只是触动于那难以诉诸笔端、难以释于理性的爱之牵绊。《Stay》中，Ryan Collins扮演的Henry也是这样，内疚于在自己驾驶过程中发生车祸导致父母(对亲人的爱)与女友(对恋人的爱)的死亡、感动于医生与护士的呵护与旁观者的关切(对人类的爱)，仿佛burning boy故事中的父子温情在影片中段滴下一颗水露，经由故事线索蔓延，终在片尾真相大白之际浸润出绮丽绚烂的图画。在弥留世界中不断企图自杀可理解为Henry为亲人恋人死亡所积郁的宣泄(sarcasm)，如Don在Inception里所说：“Guilt. I feel guilt Mal, and no matter what I do, no matter how hopeless I am, no matter how confused, that guilt.. is always there.”
II. Bad art is more tragically beautiful than good art, because it documents human failure.
伴随片尾字幕的第二首歌是Damien Rice的Cold Water，第一次听到是在那部被我痛斥为此生最恐怖电影的Closer。
Love is an accident
--- waiting to happen,
Desire is a stranger
---- you think you know,
Intimacy is a lie
---- we tell ourselves,
Truth is a game
---- we play to win.
初衷总是很难记起，感动又总是太快被忘记。或许爱并没有本质可言，很多事都在你的信与不信之间：你信，它们便在了；你不信，它们就不存在。如此这般意识决定物质，是出于无知还是一种对真相的直视? The moment we indulge our affections, the earth is metamorphosed, there is no winter and no night; all tragedies, all ennui, vanish, - all duties even. (Ralph Waldo Emerson)
III. Un suicide élégant est l'oeuvre d'art finale. (An elegant suicide is the ultimate work of art.)
我回头去查了弗洛伊德对于那个梦的观点(The Interpretation of Dreams, Chapter 7 B. Regression)，他最后说：
It is quite possible that we shall not find this first part of our psychological evaluation of dreams particularly satisfying. We must, however, console ourselves with the thought that we are, after all, compelled to build out into the dark. If we have not gone altogether astray, we shall surely reach approximately the same place from another starting-point, and then, perhaps, we shall be better able to find our bearings.
