看著匈牙利的愛情喜劇片《反戀愛主義》 Just Sex and Nothing Else(2005)，一下子竟然感慨了起來。一群演員即將要開始排演《危險關係》（Dangerous Liaisons），而負責劇本潤稿的朵拉正下定決心，要精子不要愛情。
Dora, a successful dramatist, has had one disastrous relationship after another and is through with men. She decides to have a child on her own and starts to look for an appropriate donor. Her best friend is an actress and has plenty of men problems of her own. She talks Dora into putting an ad in the paper. The plan is very simple: Dora chooses the suitable man, spends a night with him, does what needs to be done, then life goes on. But the candidates make her even more disillusioned so she is forced to change her clinical approach. A handsome actor joins the company for Dora’s latest stage adaptation. She is not exactly impressed by what she sees at the beginning but as time goes by a very different feeling starts to blossom in their relationship. Is Dora going to stay with her original plan or accept her feelings and give men one more chance? The highest rated Hungarian film of 2006, which won a cluster of awards both at home and abroad.
我喜歡有個 IMDB 上面的讀者影評：這部片有著很少的偽裝。這是好萊塢影片很久沒有的感覺。這部片有著太多細節如此「準確」，殘酷地讓人發笑：聰明的女劇作家的設定與演員太「到位」了，這讓她所作的一切令人憤怒、不爽而自我中心的種種「務實」舉動顯得荒謬又真實。
The movies has no great pretensions, but that is exactly why it is good. This is the sort of thing that Hollywood has forgotten how to make. And for a country with a small international presence in the world of movies, this is a really professional film.
‘The Goldilocks effect’ is, unsurprisingly, a term adapted from Robert Southby’s “Goldilocks and the three bears” novel, and is generally used to refer to the “habitable” zone where a planet might sit in terms of its distance from the sun it orbits – not too far (cold), not too close (hot), but just right. Generally reserved for astronomy and astrophysicists, I believe the term could and should be applied to digital, mobile and social media marketing too. The notion that something needs to be ‘just right’ to be shared and enjoyed by like-minded, or broad audiences is what most marketers and business are hoping will happen.
你也期待如此嗎？或者，你被如此的期待過？也許這就是我喜歡這部電影的原因。看起來是只要性，其實要的卻是太多；看起來我們不說愛，然而愛卻在滋長。曾經《非誠勿擾》前半段的舒淇也曾經一度準確過（你不覺得後面的 happy ending 太假了嗎？），到了再續前緣時，一切已失去了準頭。而德國愛情喜劇《沒有耳朵的兔子》有了愛情，也只能在曖昧的階段令人回味。女人生育的生理時鐘這種現實問題，還是不要惹惱觀眾吧。台灣的愛情喜劇電影，有沒有這樣準確的刀工呢？