《第36个故事》是一部由萧雅全执导，桂纶镁 / 林辰唏 / 张瀚主演的一部喜剧 / 剧情类型的电影，特精心从网络上整理的一些观众的影评，希望对大家能有帮助。
2、你会选读书还是环游世界
这些关于价值的问题其实也贯穿了整部剧。
“以物易物”的目的是什么？你想要换取的是什么价值？
妹妹无意提出的这个点子，心里想的是“换一套骨瓷或换来一套车子”
而后来，姐姐同意用日本游客的两首歌换走一本书。
再后来，当旅行社想要入股这家店的时候，姐姐愿把自己的股份用去往35个城市的机票来换。
“以物易物”还仅仅是物品的价值吗？还是人心的天平会为情感价值倾斜。
妈妈问姐妹未来的打算的时候，姐姐说“存钱”妹妹说“环游世界”
而最后姐姐去环游世界了，妹妹却留在店里“存钱”
妈妈在结尾说搞不懂，两个人怎么变了。出租车司机对妈妈说：我也搞不懂我觉得（对你）没差啊（为何烦恼）
这些情节都很值得玩味。
而造成这些的改变呢，是一个男人被以物易物吸引用35个故事交换，却意外换来了一份真挚的感情。
他们中间的情愫是何时开始的，原本是35个故事的香皂，被妹妹不经意挂上用“情书”交换的由头，
而姐姐不经意掉入其中。她的画最终变成了被交换的情书。
以上已经剧透了太多，这些情节在镜头语言平淡而浅浅的叙事下，变得格外自然，那些细腻丰富的情感，只有看到最后才体悟。
为什么姐姐画画的画面很少？这种适度的留白，不刻意的表达，有节制的诉说，是这个片子我最喜欢的地方。
最后，我想说的是，除了侯孝贤、雷光夏，这些响亮的名字，文艺小清新的标签之外，这部剧暗涌的生活价值的选择和冲突，追逐和醒悟才是最动人的。
《第36个故事》影评(二)：只是喜欢食物，而不是故事本身
三十五个故事全都是关于香皂的吧。只是在他们母女三人一起洗头的时候才发现桂纶镁实在是清秀极了，在头发放上去之后光看脸，才发现大家所说的有气质，有关林黛玉的所有感觉，似愁非愁又带些云淡风轻。
咖啡店很不错，自己动手做的甜点，brownie又是那么的柔软，tiramisu也充满人情味的样子，还有可爱的手指泡芙。故事本身乏善可陈，记不住面孔的男主角，而用于交换的东西也没见着有多么有趣。
在我看来这纯粹是一个自我救赎的故事，少年时期的苦闷，无聊，到成年时的现实而又重获实现梦想的好机会，终于成就了一个朵儿咖啡店。
守着顾客寥寥的咖啡店，感觉应该也是还不错吧。
关于食物的影片真正的吸引人。。。。
《第36个故事》影评(三)：我，想要的生活
“事情常是这样，不会按照你的意思走。在这个城市里，一定有人少了骨瓷，也一定有人多了骨瓷。一定有人多了沙发，也一定有人少了沙发。只是，还没找到彼此而已。这就是城市，这就是城市日复一日的故事。”
-----电影《第36个故事》
台北，在一间以物易物的有点奇怪的朵儿咖啡馆里，人来人往，客人们可以彼此交换各自拥有的物品，赔款换海芋，木马换吉他，两首老童谣换一本旧书，三十五个城市的回忆换三十五封情书.....一开始，姐姐朵儿想换到一套骨瓷，妹妹蔷儿想换车子，可是最后姐姐却用咖啡馆的股份换了三十五个城市的机票，妹妹接过了姐姐的理想，成为了咖啡馆的主人。
最后一幕，母亲依旧在抱怨，“本来是一个要存钱，一个要环游世界。现在变成一个要环游世界，一个要存钱。”司机一脸苦恼“我不懂哎，哪里有变啊？”两个女儿微笑。随后，朵儿把头伸出明黄色的出租车，迎面而来的风吹散她的短发，仿佛闻到公路上海风的咸腥。她的眼眸坦白明亮，她用淡然的方式拥抱自由。心理的台词是：给我，想要的生活。
都说婚姻是围城，其实生活也是，读书的时候渴望工作后的独立，上班一族又怀念学生时代的单纯，即使知道另一种生活未必满意，但每个人却都在心里隐隐地勾画着另一种不属于自己的生活。
中学时代曾幻想，当一名旅行记者，三十岁之前踏遍中国的每一个省，之后，读了新闻学，再之后，又以此为借口，读了研，可是渐渐发现，一切又和我想要的生活渐行渐远.......
也许将来与我，不过是想开一家小店，卖茶和瓷，花梨梳和印花布，东南亚的檀香和日本南部的老铁壶，每天，在店里放一首歌，安静细碎，清澈委婉，仿佛诉说故事，就这样，从白天到夜晚。
想起了这一句，“有些人能清楚听见自己心灵的声音，并按这个声音生活，这样的人，不是疯了，就是成了传说。” 电影说的故事是每个城市里都有的故事。我们想要的生活却只有自己能给。
你是要CHEESE CAKE，还是手指泡芙？
你是要一车海芋，还是一笔赔款？
你是要存钱 ，还是环游世界？
你，想要的到底是什么呢？
《第36个故事》影评(四)：用面包去换一首歌，还是吃掉面包去做下一块奶酪
第一天，姐姐的车撞上了装海芋的卡车。一向表现务实的姐姐竟然选择了一车海芋。
朋友来捧场，结果就是大吃大喝一顿之后，拿走了海芋，留下了他们不需要的破铜烂铁..
妹妹是个抽签抽到环游世界的孩子，留着一头个性的短发，也做着以物易物的理想主义行动。可是，她想要的是一辆汽车。
姐姐没有环游世界，她抽到了学业，拿到了学位，找到一份工作，辞职了..但是，她成为了世界上少了一套骨瓷的人。
从此以后，她们就经营起了这家特色的咖啡厅。姐姐烤着面包做着咖啡，妹妹完全以自己的价值观经营着自己的以物换物，当然，还有通着下水道之类的工作..
一个爱喝espresso的客人带来了三十五块来自世界各地的香皂，用三十五个故事换走了三十五封图画。这时，朵儿开始挣扎了，她记不得自己做这家店的初衷是什么，但绝不是迫于生计。
所以，姐姐选择了用自己的店换来了三十五张飞往全球的世界..妹妹却和帮助自己搞定下水道的人经营起了那间咖啡厅。
直到这时，妹妹发现自己享受这种生活就像她需要的那辆汽车那样现实；
而姐姐，也意识到了背着行囊坐在去往全世界的飞机上去寻找世界上多余的那套骨瓷的自己才是最真实的自己..
就这样，她们开始讲述自己的第三十六个故事..
这部电影给了很多摇摆的人一个环游世界的梦想，也许我们也应该背起行囊去寻找属于自己的三十六个故事。
《第36个故事》影评(五)：初心不改
这部电影上映时候，自己还在上学，彼时有大把无聊时光，又是文科生，没有大抱负的文艺女生大概都有要开一个书店，花店，咖啡店之类的想法。
之前最喜欢《蓝莓之夜》里面裘德洛的那家店，心有牵挂的留在一个地方，等到那位俄罗斯女孩告别，又等到女主回来。
朵儿学设计，学做咖啡，做糕点，一步步开了这家咖啡馆，最后却是卖了这家咖啡馆去环游世界。咖啡馆是人生一个阶段，经历这个阶段人生又迈向新的阶段。
朵儿的技艺，蔷儿的以物易物，咖啡店的生意日渐变好，既有文艺情怀又赚到钱。第一次看很是羡慕这样的生活。现在再看，成本核算，每天的劳动力，应对难缠的客人。生活就是如此吧。
《第36个故事》影评(六)：如果。选择。
如果可以选择，你选择海芋，还是赔钱？
如果可以选择，你会用学费来读书，还是环游世界？
如果可以选择，如果可以选择，如果可以选择。。。
这些问题，似乎都是空中花园，所有成立的可能都建立在“如果”两字，而“如果”又是最最不能作为基础的语言罢了！
其实这部电影看完后我不知道导演想要阐述的是什么？是后现代的生活？还是后浪漫主义的梦？是一个女孩的创业行径？还是一个杂乱不堪的故事堆彻？所以嘛，文艺片看着看着就会衍生出一种酸涩的，想要端着一杯暖暖的咖啡坐在下雨的窗前发呆的感觉。诚然，这种感觉想来很美妙！
有一句话会这么说：有个故事，当你自己深信不疑的时候就是真的发生过了。小孩子习惯撒谎，不是因为他们不知道事实是怎样的，而是他们眼中的事实就是那样的。电影里的妹妹很显然就是这样的一个典型。
回到刚开始的问题，通过不同的人，得出的答案在一定程度上折射出这个人对现实与梦想间的徘徊。当我将第二个问题：选择读书，还是环游世界？我的朋友们很多人都选择读书，因为他们是名副其实的务实家。他们会华丽丽地在后面附上一句解释：等到读完书，再挣到钱，然后环游世界。可是，错过的年华，错过的风景，错过的心情，错过的邂逅。。。谁可以补过呢？
影片最后还是烂俗地回到了爱情这个主题上，这让人觉得无语。台湾电影《练习曲》就不错，无关爱情，只关梦想，游离现实与梦想之间，唯美的让你惊醒：做你自己想做的事！
《第36个故事》影评(七)：The Modern Taipei
The Modern Taipei
---- A new “fresh-breezy” (小清新) identity in Taipei Exchanges
Taipei Exchanges is produced in 2010 and directed by Ya-chuan Hsiao. It is a lovely poem about the city of Taipei and the people living in Taipei. Through a simple, genuine story of Doris, Josie and their Bartering café, the film captures the essence of a modern Taipei that has never shown on screen: A city hugged by the gentle sunlight; a city filled with colorful bubbles of dreams. Within the city, Taipei Exchanges then presents in a dream-likely way, a young modern Taiwanese identity driven by a peculiar ‘ fresh-breezy’ optimism of life from various aspects.
Taipei Exchanges tells the story of a girl names Doris opening her own café with her younger sister Josie in Taipei. On the opening day Doris’ friends bring her different vintage stuff from their attics as housewarming gifts. Therefore the café is filled with various old items. Unwilling to sell anything other than coffee, Josie comes up with the idea of exchange that allows customers to trade things in the café for something they think is of equal value. In the beginning Doris is business minded while Josie is more idealistic. Doris wants to save money and Josie wants to travel around the world. However the process of goods trading slowly transforms the two sisters. This is how the story begins.
One of the most important themes in the film is the concept of “inner value” that Ya-chuan Hsiao introduces. Through this concept, he tries to discusse about the difference between values of material goods and values of dreams. Hsiao wants to deliver the idea of "making exchanges without using money." In the interview after the opening of Taipei Exchanges, He stated,
quot;I am not against using money to buy things. But if we value an item with only one fixed standard (referring to money), the item will lose its appeal very soon."The emphasis on the inner value of commodities provides a unique exposure of the physical material world and brings the material world up to a spiritual level of perception. In the film, aided by the curious spiritual bent, regarding the connection formed between people and their possessions, Hsiao creates an interesting narrative of the human-material relationship. Josie often rejects items to be exchanged, for her desires of something with a soul but someone’s claim that they once had imbued meaning into the item. She longs for something special, with the enduring power in it, for instance the thirty-five scented soaps with thirty-five stories of each in exchange for thirty-five love letters, and the Japanese tourist’s beautiful voice in exchange for an old Japanese songbook. In this way, Ya-chuan Hsiao constructs a new standard of evaluation—which, rather than evaluating based on the money price printed on the label and the credibility constructed in the money market, we should think more about the inner value of the objects: the value that connects us together. It can be a story, a dream, the memory of a sweet summer, etc. The objects then become alive and meaningful. This perception indicates Taiwanese young generations’ awareness of the materialistic imperialism. Therefore, they have the intention to re-define the value of something, which they are so used to, that neglect the simple beauty of it. The awareness and intention are the power driving these young people to look through the surface, and to discover the real value of everything surrounds them.
The exploration of inner value is not just about exchanging items, but more importantly through the exchange process, Hsiao manages to show how the young Taiwanese generation sees their lives and future, and he utilizes several devices to present this idea. Through using a peculiar fourth-wall-breaking technique, where apparent members of the general public are interviewed about the dilemmas Doris and Josie encounter who represent the young generation of Taiwan, we are given adequate perspectives from the overall Taiwanese society. In the documentary-style sequences Ya-chuan Hsiao mainly discussed two questions:
“ Will you use your money to study or to travel around the world？”
“In your heart, what do you treasure the most？ ”
From the interview, some people prefer traveling to studying, someone treasures her family the most, and someone thinks daydreaming is the best way to enjoy the life. The answers are variously compelling, and difficult to draw conclusion. However through the interviewees’ expressions and gestures mixed with the snapshots of Taipei, I found a refreshing optimism flowing in the city, the optimism of how people value their lives: Young people are eager to experience the outside world to make their lives meaningful. The elders are happy and content with their lives and families. This optimism therefore projects the unique identity of the modern “Taiwanese.”
esides the crucial idea of “exchange”, Ya-chuan Hsiao also presents the optimism through different cinematic aspects for example the us of comic hand drawing. When the film first shows the evaluation process of the sisters where Doris’ inner monologue states that she considers a beautiful coffee mug is more valuable than a baseball signed by a star, the jump cut immediately links to a comic drawing image of a mug and a baseball. A jump cut followed by comic illustration effect of the protagonists’ inner monologue appears multiple times in the film. The combination of animation and the realistic narration accentuate the lively and playful undertone of the film. The mise-en-scene of Taipei City also suggests the optimistic attitudes of life. In the sequence where Josie bikes around the city advertising her barter idea and Doris’ café, the camera produces a series of snapshots of Taipei. Josie greets strangers on the road. Following her bike route, we see the streets, the crowd, and the Indie-stores shining under the sun, and the whole city seems almost transparent under the sunlight just like a newborn baby, suggesting the dreams, hopes and the unlimited possibilities embodied in this city.
On the other hand, the impacts of globalization also constitute this unique Taiwanese optimism. First of all, the setting of the story is in a café shop that is a powerful representation of the western world. In the beginning of the film where we first learn about Doris’ café, the narrator explains that latte is Taipei people’s favorite coffee. This specific statement clearly alludes the importance and the wide acceptance of western culture in modern Taiwan. Another important element in the setting is the introduction of coach surfing, which is one of the most worldwide popular activities for young backpackers. In the film, Doris invites two young American backpackers to stay over in her café. She shows them how to lock the door and greets them good night. The international image of a polite, lovely, warm-hearted modern Taiwanese is thus constructed through the camera. It is not only the acceptance of western culture from Taiwan, but also the acceptance of Taiwanese culture from the outside world. The friendly and diverse atmosphere aided by globalization then adds another layer to the optimism. The film project this optimism in a way to show that the young Taiwanese now has the power and confidence to open their world to others, and welcome other culture elements to immerse into their own native culture to produce a rich multicultural environment which also contributes to the modern Taiwanese identity.
ome critics consider that Taipei Exchanges is the Taiwanese version of the French film Amélie. The idealistic and whimsical style of a romantic comedy indeed lines the two together. However different from the colorful fantasy depiction in Amélie, the realism produced in Taipei Exchanges is more convincing in portraying modern Taiwanese identity though Ya-chuan Hsiao makes it relatively subtle under the cover of a sweet and minimalistic story. In this way, Hsiao traces the many emotions of change and exchange with a breezy elegance that offsets his film’s underlying philosophical and spiritual preoccupations. However at the same time, through the discussion of inner value and the surface appearance, the characters and the city’s self-consciousness of Taiwanese are gradually exposed. All the different aspects of the film ultimately constitute a modern Taiwanese identity through its breezy elegance style of optimism. Just as delightful as a cup of creamy flavorful latte, the sophisticated brand of sensory stimulation on offer here mixes a peculiar Taiwanese bitterness with the sweet.
Work Cited:
1. Taipei Exchanges (2010),Ya-chuan Hsiao
2. Taipei Exchanges' catches you off guard, Hermia Lin http://www.culture.tw/index.php？option=com_content&task=view&id=1800&Itemid=235
《第36个故事》影评(八)：说不定呢
发疯的人生会怎样
会精彩么？
不，
会很精彩！
面粉看起来少少的，可是混一混，放一放，烤一烤，他就会变的好大。
那些在原来看来不切实际的想法，不试试，怎么才能知道他真的不合现实呢。
做梦，有什么不好
做梦，好啊
小时候可以满大街的跑，小时候什么都敢玩，小时候什么都敢做...这，长大了，还不如小时候的那个我勇敢了呢。
对于我这个普普通通，没有什么天赐神迹，又不是特别坚持的人，
如果不做梦，连前进的勇气都会没有了呢。所以呢，想到什么就去做做看，说不定，就行了呢，说不定就可以了呢，说不定就答应了呢。
有很多说不定，才会有很多惊喜
说不定，你愿意和我交换故事呢
《第36个故事》影评(九)：35+1
《第36个故事 Taipei Exchanges》
第1个故事，有关交换；
第2个故事，有关价值；
第3个故事，有关爱情；
第4个故事，有关理想；
.
.
.
第N个故事，有关自己；
第N+1个故事，有关你。
你的生活到底是怎样的呢？
是按部就班的过着正经的日子，循规蹈矩，平淡却稳妥，还是顺着自己的心意，独特而又开怀？
朵儿的梦想很简单，开一家咖啡店。除了把咖啡店管理好，其他的事情她完全不想去管。但是蔷儿却总是有许多稀奇古怪的招式，总是烦的朵儿心绪混乱。就像旅行与读书两条完全平行的道路，代表着自由与规律，理想与现实，你会作何选择？
或者换个角度，你对你现在的生活是否满意呢？就像片子开头，满意与否只是看你的生活是否达到了你的“心理价值”。生活是一个过程，没人可以评定对错差别，而理想和现实也不是完全对立。人不能被现实所掩盖，也不能完全活在理想之中，生活需要你去面对你自己的心，去调和属于你个人的面貌。无论何种生活，顺应内心，总会心安。
最后一个问题。什么是最有价值的事情呢？
正确的答案只有你自己知晓，坚持在现实道路上的我，或者漫步在理想小径上的原点主人，亦或是那个最终去寻找去印证的朵儿，其实都已经有了答案吧。
给我 我想要的生活
面对 最坦白的眼眸
前方 是一片晴朗星空
答案 紧紧拥抱我
——————《第36个故事》 雷光夏
《第36个故事》影评(十)：生活中的文艺美学可能性
第三十六个故事，小众的片子。大概会有人直呼文艺看不懂吧。
其实片子很短很干净，用一种特殊的手法，讲了一个故事，关于朵儿的爱情，关于很多人的生活态度。
片子一开始会很闷。节奏上没有什么起伏，娓娓道来的感觉。开了一家咖啡店，要买海芋，用海芋换来了奇奇怪怪的东西，奇怪的东西让咖啡店变得奇怪，蔷儿突发奇想要以物换物，换来了客人，也换来了好口碑，换来了巴哥的挂件，换来了日本童谣，还换来了35个故事。在朵儿想要把别人的35个故事变成自己的人生时，第36个故事---爱情如约而至。
片子的发展没有逻辑，前一秒钟不一定会导致后一秒，尽管在台北，在咖啡店。可是这便是生活的逻辑，无数可能性，片子在咖啡店，有背包客，有环游世界，于是片子给了我们最美的结果。这就是这部片子的一点点味道，像三十五块肥皂淡淡的香，透过光线看的到美好。
桂纶镁的出演，算是给片子加分，但不像男朋友女朋友，片子给演员加分。
不禁又想起台北这座城市，透明车厢的捷运穿过山丘和错落的房屋，湿湿的空气，捷运站随处可见的公共艺术，人情味，高高电梯上有序的排成的两条队伍。有些怀念。