Hotel manager Marcus Winter is awaiting an important visitor to the Emirates Palace Hotel.His long-time friend – the representative of a big tour operator – should be arriving soon to inspect the hotel.But instead of his friend, it’s a new inspector that comes – Sarah Riems, whose ideas concerning the needs of hotel guests greatly differ from those of Marcus.Trying to impress Sarah with the distinctive flair of his hotel, Marcus makes a grand presentation, emphasizing the spectacular regional cuisine and even taking the inspector on several trips into the breathtaking desert. Still, it looks like a hard sell…At the same time, Anna, the hotel’s decorator, excitedly awaits the arrival of visitors of her own - her pen-pal Max and his friend Holger. Although Max and Anna have only once briefly met, his extremely romantic letters have filled her heart with passion.Once her guests are settled in the hotel though, it becomes quickly obvious to Anna that the Max who had inspired such a love in her through his letters is much different than the one she now sees before her.It’s the artistic Holger who is presently stirring her desire, which leads to a growing rivalry between the two men that strains their friendship.Meanwhile, the single mother Renate and her son Tobias have traveled to the hotel for a dream holiday. Soon, Renate’s real reason for the trip to Dubai surfaces - she wants Tobias to become acquainted with his father, who operates boat tours for the hotel guests – and who doesn’t even know his son exists…
能看出导演想表达对于电影的热爱可这剧本确实太陈旧了些，仔细想想这不就是一个不负责任的渣男的故事吗，不是所有缺点都能被才华二字掩盖的。不过看电影看到死真的是影迷最好的结局了.......7/10
哇哇哇达西哇get到永野芽郁的美了。讲一个女人到老才等到丈夫出人头地，至于幸不幸福就不知道了。
对我是非常治愈的一部电影。女明星开车送女主去找男主的那场夜戏，想起《女孩之城》里女主跟男主的夜戏，那种真正危急时刻的共担。以及一家人最终被电影拯救，虽梦幻，亦疗愈。
山田老爷子终其一生用镜头深耕存在于庶民身上的真善美，让底层的珍珠在银幕上熠熠生辉。虽然这个故事斧凿痕迹太重，但作为九十岁电影人生的献礼，山田不惜笔墨地为影院鼓呼，令人唏嘘。
松竹百年，清水、小津、原节子悉数“出场”。Goh对两位老师的批评，何尝不是新浪潮一代的心声，大概山田洋次还是站在小津一边的吧。
说回永野芽郁，我只能说野田洋次郎竟是我自己……
这电影感觉是真漫长啊，可能不在受映范围。两星表达，三星辛苦。
一想到导演都91高龄了，还有什么可挑剔的呢
影视民工许多地方都有共鸣（懂自懂🥲）其实反而觉得两段故事的衔接这样做才好，不必批评故事老套幼稚，写的就是那些自我怀疑没有才华的时刻，这也是片子与作者的关系，对于90岁的山田洋次来说，比起精雕细琢，已经更在意快乐看电影本身。
故事的过去与现在割裂感太强了，主角的堕落仿佛是强行被安排的，只由一次导演的失败就结束了整个导演生涯，辞职、搬家，完全不能让观众同情。电影的高光基本上都在回忆中，但这部分反而只占了不到1/3的篇幅，叙事结构说不出的奇怪。 不过，永野芽郁真的太适合这个角色了。只要一出场就全程盯着她（要不是她可能也不会看这个电影
只是当年想象的弘大，放在今日却显得渺小了。
渣男版的家族之苦。年轻时代的人设和现代部分相差过大，结尾疫情时代下对电影院的感触好直接。
整部片子有些割裂，但看到最后却还是被感动。
完全不忍心看到曾经意气风发的永野芽郁和苏打的落魄暮年…虽说在电影中死去得偿所愿，但回头看过去，或许会觉得这一生实在是漫长得毫无必要，才会如此苦撑吧…（话说最讨厌浪子回头的戏码了
善意地给了那些曾经心怀梦想的人一个温柔的梦
有点冗长 这种电影情节贩卖反而不感冒了
对于二三十岁开始放弃自我，最后靠孙子助攻拿到奖项的烂赌鬼，很难产生共情。还好有永野芽郁在，观感好了一些。
电影有不同于小说的魅力，又同质于——生而为人，坚不可摧的精神。
为当年的松竹、清水宏和小津爆哭。如果电影之神真的存在，也应该是像米沃什的“时代精神”一样，走来走去。
片子最后男主在疗养院里，一个酷似他夫人的女士给他读《奥德赛》，这一段没有看懂，不知道是不是在表现男主最终精神崩溃了。
Copyright © 2015-2023 All Rights Reserved
