这是一段来自普通观众的观影感受： 看完《纽约的女人们》，你会觉得它就像一场漫长又荒诞的都市梦，看得很累但又停不下来。某位毫无存在感的家庭主妇意外捡到了一笔巨款，本想卷款潜逃却意外结识了艳星。它用近乎写实的镜头捕捉了底层女人的窘迫与挣扎，那种“永远缺钱”的焦虑感扑面而来。 剧情里，女人们没钱请保姆，只能把孩子扔在浴室里冲奶粉，自己却聚在一起嗑药、吵架，这种生活化甚至带点“狼狈”的细节，让人不得不信服。没有煽情的救赎，只有主角玛吉特·卡斯滕森那种精明又懵懂的“贱萌”，演活了底层小人物在荒诞现实面前的滑稽与无奈。它不需要声嘶力竭的戏剧冲突，光靠演员之间那种不动声色的眼神交汇和微妙的空间压迫，就足以让你感受到绝望的重量。
A film version of a play Fassbinder directed in Hamburg, Clare Booth Luce's The Women. It gave Fassbinder an opportunity to indulge his passion for working with women - there are forty women in the play and no men. The play dates from the 1930s, and Fassbinder was accused by the critics of being anti-women (a frequent criticism of late). As usual, he chose to work against the text, and from this has constructed an entertaining and engaging play about love between upper-class women with nothing better to do than sneer at others when things go wrong with their lives and loves.相关搜索：
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