還是哈隆自Un homme qui crie以來無法擺脫的“急迫性/emergency(幾處敲門戲)——如果說導(dǎo)演在“消費(fèi)女性苦難觀眾是否也在“消費(fèi)非洲為何非洲的苦難必須“更加深刻為何被永遠(yuǎn)標(biāo)識為預(yù)設(shè)的“差異car un homme qui crie n'est pas un ours qui danse
there’s a thing in the book about how when somebody leaps from a burning skyscraper, it’s not that they’re not afraid of falling anymore. it’s that the alternative is so awful.