棉布裙子,棉布衬衣,赤脚穿球鞋,安静而清澈。安妮宝贝早期作品中的女子,是最初文艺范儿的定义。因为遇见了她笔下的安生,江一燕一时间成了文艺范儿最形象化的代表。但是,从《我们无处安放的青春》里青春的女孩周蒙,到《假装情侣》里疯疯癫癫的沈露,再到《四大名捕》中工于心计的姬瑶花,大银幕上的江一燕正变得越来越不文艺。而她与生俱来的感性,让冰的文艺和火的热情在她的身上,找到了共存的可能,就像她在《消失的子弹》中的角色,那个令人难以捉摸的女囚付源。当青春不再无处安放,江一燕的未来,有了无限的可能。好比她家乡的名酒女儿红,和她一样有着如琥珀般文艺的外表以及馥郁芬芳让人难以自拔的香气,并且随着时间的久远而越发浓烈。她说,三十岁的自己,会更加完美。 Cotton skirt, cotton shirt, barefoot shoes, quiet and clear. The woman in the early works of Anne Baby is the original definition of literary children. Because of the safety of her writing, Jiang Yiyan became the most vivid representative of literary and artistic children for a short while. However, Zhou Meng, a young girl from “Youth We Have Nowhere to Place,” a crazy delusion in “Pretend Lovers”, and a painter in the “Four Famous Cats”, Ji Yanyan on the big screen Is becoming less and less literary. And her innate sensibility, the ice of literature and fire and enthusiasm for enthusiasm in her body, to find the possibility of coexistence, just as her role in the “disappeared bullet”, that the elusive source of female prisoners . When youth is no longer nowhere to be placed, Jiang Yanyan’s future has unlimited possibilities. Like the red wine daughter of her hometown, and she has the same amber-like literary appearance and fragrant fragrant fragrance, and with the passage of time and more intense. She said that the 30-year-old himself, will be more perfect.