Mind-game and puzzle films bring together elements of video games with complex storytelling, weaving together narratives that rely on unreliable narrators, spatiotemporal discontinuities, time loops, and characters with fractured identities in order to generate a puzzle for the viewer to solve. These elements have a long history in art house and avant-garde films, but mind-game films and puzzle films have recently become of a staple of big budget cinema (Buckland, 2009, 2014; Elsaesser, 2008, 2018). Similar to how a riddle leaves it up to the audience to provide the punchline, a mind-game film usually does not resolve its central puzzle for the viewer (Gimbel, 2017, pp. 73–74). However, there are some puzzle films that experiment with some of the same devices as mind-game films but that do resolve their central problem. These films are less like riddles and more like jokes, eventually revealing the punchline and or solution. The romantic comedy Yesterday (Danny Boyle, 2019) is one such film.

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“我说错了”：昨天的跨界义务

智力游戏和解谜电影将电子游戏的元素与复杂的故事情节结合在一起，将依赖于不可靠叙述者、时空不连续性、时间循环和身份断裂的角色编织在一起的叙事，以产生一个供观众解决的谜题。这些元素在艺术电影和前卫电影中有着悠久的历史，但心理游戏电影和益智电影最近已成为大预算电影的主要内容（Buckland，2009 年，2014 年；Elsaesser，2008 年，2018 年）。类似于谜语如何让观众提供妙语，心理游戏电影通常无法为观众解决其核心难题（Gimbel，2017，第 73-74 页）。然而，有一些解谜电影尝试了与心理游戏电影相同的设备，但确实解决了他们的核心问题。这些电影不像谜语，而更像笑话，最终揭示了妙语或解决方案。浪漫喜剧昨天（丹尼·博伊尔，2019 年）就是这样一部电影。