Inspired by Farid al-Din ‘Attar’s “The Conference of the Birds“, the film tells of a flock of birds traveling in the wake of Hoopoe, towards the Mountain of Kafh, the home of King Simourgh, from which they expect to receive answers to all their questions. Between dream and reality, the birds cross the 7 Valleys. Most of them get lost along the way, except for the 4 of them who will make experience of 4 human being’s life: Monika (Albania), Abdurrahman (Turkey), Jihad (Syria) and Susan (Israel). Characters very different from each other, in terms of age, gender, culture and religion, territory of origin and mythologies, geographical landscapes and historical and psychological backgrounds. However, for the cases of life, but on the basis of their own specific different orthodoxy, it happens that each of them lives simultaneously in two or more religions. Not only “next door”, in an attitude of tolerance, but “living more than one at the same time”. Animated cinema, by way of metaphor, makes it possible to give visibility both to their spiritual commonality, in their absolute cultural difference, and to the antiquity of the wisdom tradition in which this commonality is inscribed: the Religion of Love. In the end, the secret will be revealed only to 6 birds: to the Hoopoe who guides them (but it too must first learn something); to the 4 who have lived the experience of Love of the human characters, plus a sixth, the most unlikely of all. Speaking of “Religion of Love” today might sound “paradoxical”, literally “outside of common opinion”, a trait destined to remain unperceived and not-documentable without specific dramaturgical work. The game between reality and fiction, therefore, on the one hand enhances the perception of meanings as “non-random”, on the other it allows you to play with the viewer’s belief devices, summoned to take a position, to “see” beyond their habits of perception, beyond the prejudices of common sense.

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“现代价值观”的主流是赞颂个体自由的，但是要明确这种自由的很大一部分是“幻想”。不过，起码个人的电影评分自由，应该可以基本保证吧？是不是。看到《青春变形记》得到了这么好的分数，我觉得可以明确，是因为它有群众基础。很多观众赞同动画里的价值观，已经被潜移默化，所以他们不觉得有“不舒适”。这可以理解，也是没必要纠结的。木已成舟。现在已经是个“开放”的社会了，但是以“开放”为幌子来传达“刻板印象”，有点膈应。《青春变形记》故事的基本考虑是这样的：①：美籍华人非常热爱美国

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Himi:mahito被火焰烧死的生母，在石中世界相见 对战前日本的隐喻？ 火焰象征二战？--补充：战争只是一部分，更多代表战前日本，大正时代的浪漫与激情？火焰最终燃烧了战前的日本自身 【#你想活出怎样的人生君たちはどう生きるか】原书为himi留给mahito，战前社会的礼物？ 作品年份： 战争令战前日本死去，战前日本却”喜欢火“所以”仍然会回到未来生下你“，战争塑造了mahito一代人石头自残：mahito在遭到同学欺凌后，使用石头自残，是mahito的“恨意” 战后日本/宫崎骏一代人自暴自弃？

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打算去看《河边的错误》，到影院后发现场次不合适，就随缘看了这部，好在对前几部也略了解一二。只不过，之前看的时候年少幼稚，多半是看热闹了，现在看这部的状态可以说比之前要成熟一丢。影片内容的感受方面，余飞和丁点遇事选择思考、沟通是很重要的方法；孟云的犹豫也是当下很多都市青年的困惑，理解他的问题但觉着这样的状态是有问题的是噬待解决的，我也想得到答案；喜欢柳柳的清醒、果敢，现实中如果遇到这样的人我希望和她成为朋友，如果是我的朋友，我一定会抱抱她。影片中的很多独白都是大家当今的状

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这部电影充分展示了中国警察的英勇事迹，同时也提醒我们要警惕犯罪，保卫我们的社会和家庭。刑侦大队队长程兵的故事，令人感到震撼和敬佩。