《福运之人》最让我印象深的是那种不声不响的压迫感——镜头总在厨房、走廊、医院这些窄空间里晃，连阳光都透着一股发霉的味道。适合那些不排斥慢节奏、愿意观察人物细微表情变迁的观众，尤其推荐给喜欢《一次别离》或《合法副本》那种生活流叙事的人。这种近乎纪录片式的平淡，反而让内战遗留下的焦虑像墙皮一样慢慢脱落，你甚至说不出是哪场戏刺痛了你。适合喜欢观察社会肌理、对北非现代家庭困境感兴趣的观众，它不提供答案，只给你一面映照人性微光的镜子。塞米·鲍亚吉拉扮演的父亲，一个想靠哲学课维持体面的知识分子，他的每一次欲言又止都比台词更动人；Nadia Kaci饰演的妻子则在厨房与客厅之间，用沉默撑起整个家庭的裂缝。主角每天接送妻子透析、应付官僚手续、在工地和家庭之间疲于奔命，你跟着他的脚步会慢慢觉得呼吸变重，那种被生活一点点掏空的窒息感特别真实。
Algiers, a few years after the civil war. Amal and Samir have decided to celebrate their twentieth wedding anniversary in a restaurant. While on their way, their share their views on Algeria: Amal talks about lost illusions and Samir about the necessity to cope with them. At the same time, their son Fahim and his friends Feriel and Reda are wandering about in a hostile Algiers about to steal their youth.
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