我認(rèn)為請(qǐng)給予其實(shí)是一部表達(dá)多關(guān)心家人的親情類電影,電影主要通過2家人的生活與矛盾,告訴了我們親情的重要. 老太安德拉的家庭: 1) 首先是老太安德拉,她是一個(gè)90多歲的老人,在故事的結(jié)尾我們可以看到老太年輕的時(shí)候做了很多慈善的工作,但老太太是個(gè)好強(qiáng)的人,她不愿把自己的脆弱表現(xiàn)出來,一方面是她自己的性格所致,另一方面在于她需要扶養(yǎng)2個(gè)甥女,使得她不得不如此般堅(jiān)強(qiáng).但其實(shí)老太太很孤獨(dú),她內(nèi)心其實(shí)很愿意和人交往,溝通,但她又故意去回避,電影中刻意穿插養(yǎng)老院的情節(jié)也點(diǎn)出如今社會(huì)這樣的老人十分的多,也企盼我們多關(guān)心身邊這樣的弱勢(shì)群體. 2) 麗貝卡有一份類似護(hù)士一樣的職業(yè),她內(nèi)心善良,不僅僅對(duì)老太安德拉,更表現(xiàn)在對(duì)于她的病人之上,她能夠理解老人的痛苦,這與她的姐姐做出鮮明的對(duì)比,這樣的女孩雖然如此完美,但總伴隨著較低的社會(huì)地位這樣一個(gè)特點(diǎn),也使得她有一個(gè)感情問題難以解決的社會(huì)問題,這點(diǎn)正體現(xiàn)出如今物質(zhì)欲望橫飛的社會(huì)的本質(zhì). 3)瑪麗,一個(gè)受到多重傷害的女孩,因?yàn)槟赣H的自殺而憎恨外婆,因?yàn)槟杏训膾仐壎鴳押弈杏训男職g,她內(nèi)心充滿憎恨,使得她選擇很多極端的生活,去曬日光浴,去偷窺,去偷情等.她封閉了自己的內(nèi)心,當(dāng)她在追悼會(huì)上聽到外婆生前的所做所為時(shí),她的表現(xiàn)顯出一絲內(nèi)心的轉(zhuǎn)變,她仿佛理解了家人親情的那份內(nèi)心的支撐作用. 凱特一家 1) 凱特是一個(gè)回收已故老人家具而轉(zhuǎn)賣的商人,她總是表現(xiàn)出對(duì)于流浪者等弱勢(shì)群體的愛,但她對(duì)于家人卻顯得那么吝嗇.她內(nèi)心很掙扎,她難以和自己的女兒融洽生活,她有時(shí)也無法理解丈夫的感受,但她有充滿想要表達(dá)愛的意愿,所以她選擇去做義工,選擇去給予窮人錢財(cái).但這些行為反而讓她更難以得到家人的理解,但凱特是幸運(yùn)的,她的工作給予她更多的機(jī)會(huì)去理解她購買已故老人家具時(shí)那些老人子女的感受,漸漸的使她理解其實(shí)為自己家人付出更多愛,比那些對(duì)外的愛更來得真實(shí). 2)亞歷克斯作為一個(gè)丈夫又兼合伙人,使得他對(duì)于家庭除了義務(wù)越來越缺少情感,所以他選擇了偷情,但多次偷情后他內(nèi)心產(chǎn)生了罪惡感,他尋問自己什么都不缺的家庭為何還要尋找偷情這份刺激,這時(shí)他明白了家庭除了義務(wù)更多的是溫暖的那份感覺. 3)女兒艾比是一個(gè)對(duì)于物質(zhì)極度追求而對(duì)自身?xiàng)l件極度自卑的女孩,為了跨越自己心里的鴻溝她不得不選擇更進(jìn)一步的物質(zhì),但這些又使得她與母親的理念所背離而產(chǎn)生矛盾,但當(dāng)她美容失敗之時(shí),她發(fā)現(xiàn)父母表現(xiàn)出的愛是那么強(qiáng)烈,漸漸的她理解了愛其實(shí)不是金錢所能夠衡量的東西. 最后我想說,在如今我們被物質(zhì)社會(huì)的陰暗面所包圍的社會(huì)里總會(huì)提倡愛的奉獻(xiàn),但我們所宣講的愛又總那么道貌岸然,其實(shí)愛是在點(diǎn)滴之間所理解和發(fā)現(xiàn)的,而最簡單最值得我們?nèi)ジ冻龊桶l(fā)現(xiàn)的便是我們的家庭.

現(xiàn)在是北京時(shí)間的晚上9點(diǎn)一刻。我還坐在辦公室里，看著華燈初上的北京，星星點(diǎn)點(diǎn)，萬家燈火。 好幾年前，我在北京的大學(xué)讀書。記得很清楚，路過一個(gè)辦信用卡的小攤子，一群中年大媽圍在那里辦卡，其實(shí)他們需要辦信用卡，都是想要信用卡的贈(zèng)品，色彩鮮艷卻是免費(fèi)的小墊子。那時(shí)侯我才17歲，敏感的純潔的少女的心，咯噔一下被刺痛，自己寫在日記里說，我永遠(yuǎn)都不要變成那樣的人。那時(shí)侯的我，自尊姿態(tài)看的比什么都重要。 It's Been Rough On Her Age。 是的，在我那個(gè)年紀(jì)來說去理解這個(gè)世界的確有點(diǎn)難。 電影里，每個(gè)人都是那么難。 兩姐妹，互相掐架，互相斗氣，互相不肯對(duì)彼此態(tài)度溫柔一點(diǎn)。姐姐漂亮性感，總是惡言相向，說話毫不客氣。卻也偷跑去別人的店裡，看看那個(gè)女人是怎麼贏得喜歡的人的心。妹妹木訥不動(dòng)社交，年紀(jì)漸漸長大卻從沒約會(huì)過。試過一次，卻因?yàn)轭^髮顏色和別人爭(zhēng)執(zhí)。對(duì)祖母卻盡心盡力，只是因?yàn)樗X得那是唯一不多的親人。 中年男人形容和自己生活在一起10幾年的妻子時(shí)，只是用partner。睡覺的伙伴，生活的伙伴，生意工作的伙伴，撫養(yǎng)孩子的伙伴。早就沒有愛的存在。他后來形容自己的出軌說道，也許這是對(duì)的，對(duì)我的婚姻有幫助。生活對(duì)他來說不是有多糟糕，只是總是個(gè)什么時(shí)候他覺得很難。 中年女人對(duì)自己的職業(yè)感到羞恥，她無法忍受廉價(jià)收購過世人的遺物，用高昂的價(jià)格轉(zhuǎn)手賣給客人。并且形容自己的店，是有品味的精選古董傢具店。她對(duì)處在叛逆期的女兒不知道如何相處和愛，卻願(yuàn)意對(duì)街邊那些流浪的貧窮人兒施捨金錢。換得一點(diǎn)點(diǎn)的安慰和自我釋放。 15歲的女兒，說話完全沒有禮貌。也許我從那個(gè)年齡過來，我更明白青春期也許只是想要一次任性，一次無法無天，一次無理取鬧，一次不負(fù)責(zé)任。可是，敏感的小女兒看到父親出軌，卻不想拆穿，把心事放在心底，默默轉(zhuǎn)過身去。 生活好像在每個(gè)階段都是有點(diǎn)難。 我以為高中畢業(yè)，我可以離開那些冷漠的老師，開始我喜歡的自由自在的大學(xué)生活。卻不知道後面有甚麼在等我。 我以為大學(xué)畢業(yè)，我有能力獨(dú)立自主去尋找我的夢(mèng)想做我喜歡的事情了，卻不知道原來現(xiàn)實(shí)其實(shí)並不如次美麗。 我看到小女兒和媽媽吵架，兩個(gè)人互相傷害。我們或許想要的只是一次任性的機(jī)會(huì)。不要講道理，不要問原因，讓我們?nèi)涡砸淮巍? 任性的傷害別人，傷害自己。不顧及自尊面子，和母親一樣在廁所哭泣，和中年男人一樣出軌一次，和姐姐一樣固執(zhí)的看個(gè)究竟，和妹妹一樣有一個(gè)吻，和小女兒一樣在媽媽的懷裡哭一次。 Please give, give us a chance being ridiculous, being silly, beiing unreasonable, being weak, all the reason I wanna you to see is because I am not afraid being those me in front of you, because we are close, we are special, because we love each other.

NYC, present day, Kate (Keener) and her husband Alex (Platt) run a modern furniture shop, and have bought the adjacent apartment of theirs, but can only have it after the current occupant, the cantankerous 91-year-old Andra (Guilbert) dies, considering her long-in-the-tooth age, the wait shouldn’t be too long.

Acquiring their accessions with a fairly low price from the next-of-kins of the recently deceased, and then flip them for a much higher price tag in their boutique shop, Kate has become growingly flustered by guilt germinated from their pecuniary profiteering, and to allay which, she is more than willing to dish out small cash (even a 20$ note when she is in the mood) to panhandlers in the neighborhood (sometimes it is embarrassingly backfires), and seeks out some voluntary works for those who are considerably less fortunate than her. But how does it work? scenester filmmaker Holofcener’s PLEASE GIVE, her fourth feature, wrestles with this question in a brutally honest manner that it is almost touching in the end, when Abby (Steele), Kate and Alex’s zit-afflicted teenage daughter can finally have a pair of jeans she craves for, all thanks to Kate’s lofty gesture of shelling out 200$.

While Kate’s problem is chiefly, her paternalistic attitude of rearing her daughter, and a bleeding heart disposition that undermines her philanthropic resolution (she cannot turn off the waterworks when facing with disabled children, and geriatric duty is left with a loose end), and Keener is a fathomless wellspring of naturalistic demeanor, pitch-perfect affect within a wide compass of emotion; Alex is otherwise simply lumped as a complacent husband who is not above to frolic with some low-hanging fruit, but Platt’s nigh-to-zero sex appeal fails to make the affair feel authentic.

On the other side of the spectrum, there are Mary (an acerbic Peet goes for the kill) and Rebecca (Hall, wondrously expressive in her more underplayed, emotive modus operandi), the granddaughters of Andra and her caretakers, both single and fancy-free, the former is a cold-heartedly blunt hypocrite (she will not admit her radiant tan is achieved from a sun-bed, but has no hesitation to be catty about everyone else’s peccadillos) and the latter is a self-effacing and warmhearted angel, but guess which one does Abby find as a cool role model to emulate? The sharp irony and unsentimental rumination are Holofcener’s claims to fame, and PLEASE GIVE is illuminating in alerting us to inspect our own contradictory behavior patterns, for that effect alone, Holofcener’s sensibility and intellect should be drawn onto a bigger scope to shine and dazzle.

referential entries: Holofcener’s ENOUGH SAID (2013, 6.9/10); Yaron Zilberman’s A LATE QUATET (2012, 6.7/10).