男人都太壞,姐妹才有愛。對(duì)瑣碎細(xì)節(jié)的紀(jì)錄片式關(guān)注固然使影片擺脫了過重的情節(jié)劇痕跡,卻也壓過了作為公路片內(nèi)核的非預(yù)期遭遇,因此很難說角色與紐約(where "you are forced to interact with people who are just nothing with you")產(chǎn)生了空間互動(dòng)。于是在整體的單薄基調(diào)下,唯一的遭遇(with男主)也凸顯出其操縱和建構(gòu)性質(zhì)——倒是應(yīng)和了導(dǎo)演激烈的批判姿態(tài)。