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其實片子沒多牛逼，隻是看到了自己的影子！

Everybody has a neverland. The greatest pain is losing a parent, crueller when it happens before you reach adulthood.

跟《有人讚美》同出自天畫畫天，都是新導演編導的家鄉故事，都受國外電影節認可。白鶴的攝影是讚美的導演，全景展現地域特色，也都用了不少童謠民謠。有蘇童原著在，白鶴更文學化一些，敘事漸入佳境，結尾卻又悵然若失。既樂天知命又惶恐迷信。可能因為邀請的都是親朋，李睿珺指導演員要出色得多

“Matchstick Men tells three stories, each one intriguing enough to supply a movie. It is: (1) the story of a crisis in the life of a man crippled by neurotic obsessions; (2) the story of two con men who happen onto a big score, and (3) the story of a man who meets the teenage daughter he never knew he had, and finds himself trying to care for her.”

同情的眼淚並不是審美的最高境界，至多隻是藝術效用的一個品種。普契尼的缺憾並不是他表現多愁善感，而是他一味沉溺於多愁善感。