《筋疲力尽》代表了一个时代的电影潮流,也体现了电影大师戈达尔极尽颠覆的美学风格,蕴含着丰富的美学内涵。《筋疲力尽》中有很多细节能带给观众游戏的感受,本文将从存在主义(这里主要指法国存在主义)的角度展开论述。第一部分主要例举影片中体现游戏感的诸多细节;第二部分指出游戏因子的注入使观众的目光从道德评判转移到了人的存在本身,并就此展开具体的存在主义问题剖析;最后,依据存在主义理论中有关“自由”的观点展开对“标志性动作”的深入解析。 “Exhausted” represents the tide of an era film, but also embodies the film master Godar the most subversive aesthetic style, contains a wealth of aesthetic connotation. There are many details in “exhaustion” that give the audience a sense of gameplay. This essay begins with existentialism (here mainly French existentialism). The first part mainly illustrates the many details of the sense of game in the film. The second part points out that the injection of game factor has shifted the audience’s gaze from the moral judgment to the existence of human being and analyzed the specific existential issues accordingly. Finally, Doctrine of “freedom” from the viewpoint of doctrine.