国产日韩在线

影片在画面比例和摄影上给人带来了一种被禁锢的观感。结尾戛然而止，不论理解成自我毁灭，还是向现实妥协回归本我，都很有意思。

animation effect, monitor motif, Vertigo-like romance/tragedy, Foucault-like view of history of idea

非常布列松，非常乡村牧师日记，但人物关系也不时让人想起伯格曼和《冬日之光》。信仰的两个侧面：虔诚与爱得到充分诠释，直到最后充分转化。神父就像一块海绵，吸收了世界上最不堪的东西，将之转化为人性的奇迹。不过施拉德显然是想为电影附加更多当代的意义：除了现代人的精神困境和自我毁灭的原因之外，他其实更加关注人与社会、权力（这里是资本）的关系，让人想起出租车司机里那个愤世嫉俗的特拉维斯，环境保护倒是其次的。两人飞过大自然的段落实在有点倒胃口…

“就这样那些摄影机还是转动了。生活，把它罕有的同情心，赐给了诺玛戴斯蒙。她一直以来依赖的梦想如此绝望的……拥抱着她。”红颜弹指老已不是往昔的莎乐美，而落魄编剧也非先知约翰。无情的讽刺，层层的鞭笞，不到最后一刻你永远不知道它有多精彩，这就是经典电影的魅力。

Look, people have, throughout history, have woken up in the dead of the night, confronted by blackness. The sense that our lives are without meaning. Men's great achievements have brought him to the place where life as we know it may cease in the foreseeable future. But the blackness, it's not. Whatever despair you feel about bringing a child into this world cannot equal the despair of taking a child from it.