选集列表
剧情简介
A megalith rises from a sandy desert – or rather, a scale model of such a landscape. “I am the archive”, says a young female voice while ominous string music nails viewers to their seats. This opening sets the stage for the narrative and figurative language of Rithy Panh’s dense mnemonic essay which uses stunning dioramas to tell a twenty-first century dystopian story. After a century of genocidal ideologies and destructive speciesism, animals have enslaved humans and taken over the world. In a wave of hope, the statues of the past have been removed but new ones are being erected to suppress the will of the people. This is now a planet of apes, boars and lions, and a zoological revolution is reversing and recreating the atrocities of the 20th century. As animal figures watch the film archives of our world, it feels as if Lumière has been transported into a film by Méliès or Willis H. O’Brien. We are all well aware that history repeats itself first as tragedy, then as a farce. The time has now come for this farce, in which “political language inhabits our dreams and consumes us”, to allow the possibility of a “graceful and tender insubordination” to emerge.
观众心声
想过会难以观看，但没想到这么难看，就像读一篇政治、哲学论文，晦涩生硬，说真的，这种作品做做艺术展览就行了……
2022-04-10 仍然乐见导演的这种尝试变化，依托于赤柬，又链接到当下，尽管是否能够严密契合需要打上一个问号，但至少是在一种封闭段落复写之后又另起了一行。甚至于导演的微缩模型在这一部里得到了一种解释，自然不是什么隐喻电影，一切都是显现的，只不过它通过与低科技：裸露在外的线圈与芯片，牢靠地接洽，从而实现了最低成本的现场复原。难得看到导演补全了两种方向的箭头，不止是暴威、力权的指向者，也是它的发出者，链条更加明晰了。Living in earth is an odyssey.
选题也太大了，从人类史上的暴力到数字时代的媒介规训，超出了电影时长也超出了电影的形式——该本仔细观看的影像闪过得太快，微缩景观又过得太慢……
延续《辐射》对散文风格和archival image的运用，并加入了更容易让观众理解与进入叙事的粘土动画作为寓言故事的主轴，表现形式上有让人耳目一新的地方。但从20世纪全体主义批判的角度来评论人类世、生态问题和网络文化等21世纪议题则是一个难以让人满意的狭窄视角。从其个人经历角度可以理解潘的出发点和思考模式，但从智力层面难以苟同——对《辐射》的一切不满在这里依然可以成立。
形式大于内容，形式还不是什么高精尖，并且看完会让人非常抑郁！