偶然翻出《偷自行车的人》,透过磨损的碟片外包装,依然能看到暗灰色的电影海报上,布鲁诺幼小的身影站在父亲身边,单这静态的画面,就足以给观影的人平添一丝惆怅。德西卡,宁要现实,要世俗,而拒绝浪漫、虚假,无论后者有多广阔的市场。他将自己倾心追求的这种美学风格进行到底,影片没有传统意义上的演员、故事、场面调度,而是由失业工人、真实生活、长镜头,共同构造 Occasionally pulls out “stolen bicycle” through the worn disc packaging, still can see the dark gray movie posters, Bruno young figure standing beside his father, this single static picture, is enough to give the film Add a touch of melancholy. Desi Sika, rather to be realistic, to secular, while refusing romance, false, no matter how broad the latter the market. He will pursue this kind of aesthetics that he pursues in the end. The film has no actors, stories and scenes in the traditional sense. Instead, it is composed of unemployed workers, real life, long shots, and co-construction