童话2022

不同于同类战争片热衷于用全景式炮火声效或宏大叙事来轰炸感官，索科洛夫的《童话2022》选择了一种近乎吝啬的克制，把战场浓缩在狭窄的战壕里。它就像一杯冷掉的茶，虽然没味儿，但后劲够大。相比于追求感官刺激的同类影片，它摒弃了宏大的外部动作，转而深入挖掘个体在异国荒原中被自我与历史逐渐吞噬的异化感。 如果你向往那种能在影厅里把自己抽离出来、直面残酷现实的质感，别指望刺激，但绝对值得看。 最戳人的是片尾那段，像极了小孩赌气时的那种执拗，看得人心里酸酸的。这绝对不是那种让你热血沸腾的英雄片，它太冷了，冷到让你看着看着就想哭。

　　In Skazka, Alexander Sokurov weaves digital magic to create a phantasmagorical vision of the Afterlife, worthy of Dante. But wait: are we in the limbo of Purgatory, or a paradoxical Paradise reserved for notorious men of world history? Mussolini, Stalin, Hitler, Churchill and more: all are present and accounted for. Since they exist only as archival media images, each figure comes in a serial set.
　　In the blackest of political comedies, these fallen men beg, in turn, to be let through Heaven’s Gate – but the angels who peek through never open wide. Little wonder, as the former leaders wander listlessly, bitching (in a Babel of multiple languages) about each other’s clothes, hair and hygiene.
　　In what is effectively a work of animation, Sokurov has pulled together many talents into an extraordinary technological feat. It blends pictorial elements from art history to form an endlessly unfolding landscape, replete with fog and ghostly armies of the sacrificed victims of history. Announced as Sokurov’s last film, Skazka is an inspired riff on the high culture of Peter Greenaway mixed with the low culture of mash-up artists Soda_Jerk. Can we now expect some entrepreneur to bring us the interactive Skazka video game?

相关搜索：