Totally unawares, Saverio, a teacher and Mario, a janitor of the same school in which they both work, travel back in time and find themselves in central Italy at the end of the 15th century. They carry with them an unresolved squabble concerning Saverio’s sister, creating a lot of tension between the two, which will increase in the plot. From this moment on they will have to come to grips with the grotesque situation they find themselves in, trying to "hitch a lift" back to the future in a most outlandish way, using and misusing their foresight of the events taking place round that time, and generally making fools of themselves in the eyes of "normal" renaissance folks. Their meeting with Leonardo da Vinci is hysterical, when they become more and more convinced that the genius is in reality a moron. Another character they meet is Savonarola the heretic, who enjoins them to repent, before he is taken to the stake, eliciting some breezy comment from them. If it weren’t for a weird kind of homesickness, they would quite enjoy living in this period, full of daring fashions and tantalising damsels.
The couple shows great chemistry and is funny in every respect. The psychology of their characters is complex and credible - for once comical roles with a depth. Basically, Saverio is an embittered petit-bourgeois forever attracted and rejected by women, envious of Mario, an easy-going proletarian every woman falls in love with. Saverio is scheming, mean and vindictive as much as Mario is naive, generous and forgiving. What a match of talents: Roberto Benigni and Massimo Troisi at the peak of combined creativity. Too bad they will never come back together for another joint venture. Or maybe it is better this way: masterpieces of this level cannot be improved on, at best they can be imitated. For this reason Non ci resta che piangere will shine like a gem in the crown of the best Italian movies of all times. Sadly not many people seem to have seen it, not even in Italy, where the viewers do not need subtitles to enjoy the hilarious juggling of the two actors with the language, but their body language can be universally appreciated.
If you miss it you will have to repent!
自我感动是创作的毒药，哪怕良心上的。
好文艺，不仅电影拍得文艺，豆瓣评论也文艺，似乎不懂几句法语，不能说出几个电影专业名词，不能对比几部小众文艺片都不好意思写评论了，而我只是爱这温柔而绚丽的夜呀
胶片影像的质感+法国电影的叙事，让温暖与温柔共存
原以为就是假喜剧隐藏一个反转…本来只想给三星半，但是看到最后，惊喜了！反转之后反转又反转，非常惊喜！一定要看到最后，最后很精彩。（友情提示：尺度略大，能上映，属于奇迹…）
故事的反转做的真的很棒！！这点真的给我很多惊喜！！不太多剧透了。影片最后的结尾，让人突然能够回忆起整个故事开始前，给人一种很强烈的恍惚感，让观众从深入其中的代入感中猛的抽离出来。真的很爱！
我看来是标准的三星半电影，这个电影优点是剧本做的完整细致，缺点肉眼可见的穷；镜头语言太单薄了；导演功底实在不行，演员也太一般了。 前面有些废话，例如发现齐乐山是凶手也太磨叽了，李达爬通风管道的镜头太长了可以改进。 为了反转的惊艳齐乐山前期应该亦正亦邪，中期应该更凶恶让人感觉他就是真正的杀人犯。但是电影一上来就感觉齐乐山是好人有隐情，看到最后也只能给人一种果然不出所料的感觉。如果这个角色换成孙红雷在全民目击里那个感觉就比较对，但是齐乐山是全剧戏眼，现在差意思了，所以电影也差意思了。当然主要是导演的锅，在搞笑上花了很多没必要的废笔（比如跳舞那段整个没必要）。梗很多，但是很多是没必要加的梗，看到了《闪灵》《无间道》等众多经典镜头/台词，甚至还有爸，我回来了？ 很多演员表演痕迹挺重的，实在出戏。
很舒服的电影。穿插其中的低清影像，儿子骑着单车吹着晚风以及那段配乐，姐姐打开窗和楼上一起唱，Elisabeth看着镜子里胸部的伤口然后穿上漂亮的绿裙子，两人坐在天台抽着烟谈论着刚刚混进影院看的电影。挺特别的家庭关系，四个人都有困境，但看到的更多的是各自的生命状态。有点温情，也有点忧伤。一切往前，不会停留。“我很努力去热爱生活了，对吗”
这里面的人，独立，自由，努力追寻着自己的梦，也是一群可爱的人：可以被爱的人。最后的一段直接泪目
但他最终还是选择把手放下，因为他终于明白，有时候揭开真相是残忍而自私的，有时候守护谎言也可以是善意而美好的。
喜欢那个一起跳河的片段
整个片子太压抑了，我们到最后还是要学会跟自己相处，毕竟陪自己到最后的只有自己
回忆起米夏埃尔的影片应该都会带着一层色彩滤镜，《阿曼达》是婴儿蓝，《巴黎夜旅人》是午夜蓝。现在就算是巴黎老太太也不会这么慢地讲话了，他的电影里都是现代陌生的巴黎，老电影熟悉的巴黎。
一些漫不经心的小事，一些轻盈浪漫的文艺感，注入深沉浓烈的个人情绪，别有一番风味
真的是一部极其温柔的电影，那些巴黎的清晨、夜晚和日出真的好美
会有别人眼中的我们，那些碎片，我们曾经以为瞥见的，我们的碎片，会由我们的梦来滋养，我们从来都不是相同的，每一次，我们都只是外来者，是夜旅人，是他们的想象，就像被留在旧房间镜子上的，那些脆弱的阴影。
衔接与节奏不算顶好，但在结尾，惊鸿一现的女生，随之阿姆斯特朗老爷子死前绝唱饱含感激与满足的what a wonderful world响起，我就一点意见也没有了，多好的牺牲与守护的故事，凶手老哥多好的微笑啊
竟然能【在商业片语境下】有意识在讨论“摄影机是什么”，【重申是商业通俗电影语境下】。很多微小的惊喜之处，尤其那句“最可怕的东西是记忆”。提及新闻业的功能，电影的社会意义，对性犯罪的借古喻今，都很勇敢。笑点很多千禧年之后的流行文化梗，挺戳我（
向往自由的灵魂 有烟吗？想抽一根了 就是，尽管我已经是两个孩子的母亲，尽管我已接近五十，但我还是拥有自我，有重来一次的机会和勇气！仍然热爱生活！仍然充满希望！
极度温柔的电影。夏洛特演得真好。家装和主角的那间公寓简直是人生理想。大量胶片拍摄的空镜，私密又充满时代感，最终成为了写给巴黎的情书。
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