十幾二十年前在CCTV6看過第一部，深為感動(dòng)，時(shí)至今日才知道這部電影有續(xù)集。這部電影延續(xù)了第一部Vada尋找自我的主題，這部戲中她來到了洛杉磯，在Nick的幫助下通過尋訪她素未謀面的媽媽的形形色色的朋友們，試圖拼湊出自己豐滿，立體的母親的形象，從而更深入了解、認(rèn)識自我，獲得對自我身份的充分認(rèn)同。整部片基調(diào)溫馨，跟第一部的內(nèi)容和風(fēng)格還是非常統(tǒng)一的。

All of a sudden, comes into my life piles of works of the 80s, the 80s that I'd never been lived through, the 80s becomes so fascinating to me all because of a person and a time.

I wrote, "the kind of story I would never forget" and that was over two years ago.

If movies from the 80s tell limitless imaginations of the great advanturers, movies from the 90s tell warm and sound love of the ordinary.

I find home in the first movie, also in this sequel. I saw S in Thomas and myself in Vada, the same way I now see him and his friends in Mike and his gang. Bet it would be real nice to live through both the 80s and the 90s, when there is no scheme, no guessing game, no lie, no job market crisis, no trust issue, no psychological break down, no ghost or phantom, no obsession, no dystopia or apocalypse. It has always been so as Charles Dickens says--Darkness is cheap.

The shop owned by Hillary Mitchell is called "Tima after time". Sentimentality overflows, connecting with that vantage shop of a psychic with the ballroom door that Eleven comes through, connecting with the haunted Crystal Ballroom full of cold souls memories philosophies rain wood floor ancient piano replaying "everything but you".

So two years later, two decades later, samsara to the live reveals all kinds of metaphorical death.