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配樂很不錯，古典音樂提起了宏大的氛圍，因為視覺上這個故事發生的空間太小了

The question of whether or not the film or its characters are actually good Marxists is not only not interesting, but also misguided, since we’re bound to get nowhere with such relationships of subordination: it is the coordination that we must look at instead. Godard doesn’t film “Marxists” or things whose meaning would be Marxism. He makes cinema with Marxism [...] The strength of the film is that it brings together cinema and Marxism by treating those two formulas as two different conceptions of art in general, and hence also of Marxist cinema. -- Jacques Rancière

有些失望，既不恐怖也不懸疑。有國產“恐怖片”綜合症，看到精分題材就莫名的反感。安雅·泰勒-喬伊繼《分裂》之後，又演精分題材。故事總體尚可，節奏偏慢。故事沒有詳細說明這個殘暴父親之前有多殘暴，而且這樣的家庭還能有四個孩子，其中還有年紀這麽小的兒子，不由讓我一直以為是不是性侵女兒了。前期過度的故弄玄虛加上恐怖的氛圍和渲染讓結局反轉無力，甚至最後成了GOODENDING！落差較大，一般般。

最男人的演員 最女人的演員 最溫情的電影

we can't live in a tomb. (活人不能住在墳墓裏）