看讨论区有人认为女主太蠢,所以才让自己陷入这种境地,那就属于完全没看懂电影了。。
其实女主是个深度猎奇“患者”,片子开头就已经明示了,有个人被列车压死,工作人员不让路人凑上去看,她鬼使神差就是要去看看。。
她对这些极度暴力血腥的东西其实是嘴上说不要身体却想要的典型,对变态血腥以及危险本身的痴迷,才是驱使她步入后来危险境地的真正原因。。
可能有人会说早早报警不就完了,看到第一盘录像带报警不就完了等等。。那样的话女主还怎么看到后面的录像带,怎么满足心里那点小小的变态窥视欲呢?
关于这一点其他影评里貌似已经有人聊过了。
顺带一说,片子最后电视台要播放虐杀原片,医院里那些普通人一个个期待的嘴脸其实才是这部片子最可怕的地方,每个人或多或少,心里都对这种极度血腥暴力猎奇的东西有兴趣,有兴趣就有市场,这就是那个教授挂在嘴边的“给观众拍他们想看的东西”。。相信很多看这部电影的人,本身也是冲着真人虐杀影片的噱头来的吧。
Spanish filmmaker Alejandro Amenábar’s feature debut, a juvenilia made when he was only 23, THESIS robustly probes an ordinary person’s often latent ghoulish proclivity, and dexterously twins it with his/her suppressed sexuality, after all, Freud will second, death and sex, a dyad that forever fascinates us (thinking about la petite mort) until we kick the bucket.
Angela (Torrent), a university student studying cinema in Madrid, is preparing her thesis on today’s pervasive audiovisual violence and its influence, after her professor Figueroa (Picazo) apparently dies from asthma while watching a mysterious tape he filches from a hidden chamber in the college’ video library, Angela secretly snatches the tape and then brings it to fellow student Chema (Martínez in his feature film debut, plumb unrecognizable from Almodóvar’s BAD EDUCATION, 2004), what is on the tape is actually a snuff film, showing a man wearing a balaclava mask torturing and then killing a pinioned young woman, whom Chema identifies as Vanessa, a student who vanishes two years earlier and has never been found since.
Playing detectives to get to the bottom of the heinous crime, Angela and Chema make an unlikely pair, soon clues lead to a potential suspect Bosco (Noreiga, a real corker in oozing irresistible sinisterness out of his pretty-boy persona), a student who is in possess of the same model of the camera that shoots the said film. But much to Chema’s displeasure, while bird-dogging Bosco, Angela also develops a feeling for him despite herself, exculpating him, even wallowing in a masochistic fantasy in which sex and death are just one step after another.
Although purporting an academic reason to delve into imagery of extreme brutality, Angela, a self-claimed violence naysayer, is like most of us, cannot resist the temptation of its abnormal beckoning, rightly foreshadowed by the opening scene of an accident in the metro station. More often than not, one’s mounting curiosity outstrips ingrown revulsion, from firstly darkening the image to leave only its spine-tingling sound to be heard, to taking a tantalized quick glance of its gruesome content from the chinks of her fingers, until imagining herself being held under the same dire plight (but with carnal gratification), Angela’s gradual recapitulation to it charts an eloquent process of our primeval capacity of assimilation and eroticizing anything that can arouse our libido, ergo, justifies the perverse market of snuff films, like professor Jorge Castro (Elorriaga) exhorts: filmmaker should always give what the audience wants.
Shot in a flyweight budget apparently crimps the narrative complexity, besides two unremarkable red herrings (an evil professor, a jealous ex-girlfriend), this whodunit entirely oscillates between incriminating either Chema or Bosco, two young men who either openly or covertly battle for Angela’s affection, one is a nerdy ghoul, who also turns out to be a stalker, another a personable charmer who sweeps her off her feet at their first sight, her choice is not difficult to divine, predictably, a wrong move will once again, imperil her to the same fate of Vanessa, and the final twist is fairly well-worn.
Ana Torrent, the young protagonist in Carlos Saura’s RAISE RAVENS (1976) and Victor Erice’s THE SPIRIT OF THE BEEHIVE (1973), seizes on a rare leading role when transitioning into a full-fledged grownup, provides a poised impression characterized by either rational brusqueness or irrational obduracy, potently boosting Amenábar’s strikingly entertaining fare that shored up by his top-line acumen and snazzy craft.
referential entries: Amenábar’s OPEN YOUR EYES (1997, 7.9/10), THE SEA INSIDE (2004, 8.3/10), AGORA (2009, 6.2/10).
but i' m a creep
暴力影像如同英俊的王子,你说一个字,他便向你靠近一寸。毫无难度攻破家庭防线,闯入你的生活。一味为观众提供想看的画面,终将把观众捆绑在椅子上折磨。而那个脏兮兮的男孩,在电话里抱怨着连咖啡都没被请过,却愿意救你于水火。只有烛火的地下室,他喊着我是切玛,原来童话里公主也可以找到小矮人。
悬疑和惊悚营造的很不错,但是看完回味不多,叙事偏传统,情节拉锯太长,本应精彩的地方经常泄气,个人不太喜欢。
百转千回,不断在脑袋里换着嫌疑人对象。另外男主Fele Martínez不要太有爱!卷长发+黑框+整张脸的feel 真的好像《秘窗》里的德普!帅死了!还有点儿Gary Oldman有没有?
其实有个极强大的开局,故事的展开和悬念的铺设都有条不紊沉稳有力,可惜中途剧力散尽止步不前,故事越讲越乏力,格局也越来越小,肥皂剧一般只在两三个人物间来回摆荡,结尾也草草收场十分无力。3星半。
人的暴力是与生俱来的吗?这部电影可以看做是导演对暴力文化反思的论文。
探讨视觉暴力的,在此之前有David Cronenberg的Videodrome,在此之后有Gaspar Noé的Irreversible,可以当作一个三部曲来看了。
Chema很john deep~
好电影!
校园情感剧。为了王尔德那童话,给个满分又如何
坏人长得帅就是不会让你做噩梦的,男一男二都是美型啊,看了一天西班牙电影满脑子都是guliguli怪不得觉得节奏好像《睁开双眼》原来导演是一个人
强尼德普你不要,你选那个嫩牛五方挫逼,你说你怎么不被抓?
结尾是对媒体传播职能的警示:它不是播撒暴力的种子,最多只是浇点水,然后让人心中的暴力自己破土而出。
太棒了!!!
一个善良的漂亮的女村民,徘徊在对好感度极高的狼人以及一个暗中保护她的预言家之间犹豫不决的狼人杀故事!在这之前,一个村民暴毙身亡,一头坏狼被预言家弄死,最后,觉醒的女村民奋力一刀,干死了最后一匹狼,村民与预言家最终取得了胜利。3.5吧,整体氛围和悬疑感确实营造的不错!
阿曼巴惊为天人的处女作,夺得戈雅奖7项大奖(含最佳影片、剪辑、原创剧本、音效、新导演和新人男演员等)。对暴力影像本质的探讨,悬念感十足的新颖之作。 PS:被女主角迷住了是什么节奏?[2016.12.12重看]几处情欲角力戏也足够精彩。火车观尸尝试起首+电台录影带警告画面收尾颇具讽刺性。[2019.4.21美琪大戏院三刷]还有对无处不在的被看的探讨,安娜·托伦特饰演的女主其实就是大部分对暴力既怕又好奇的观者的化身,而男主之一则不啻是暴力的化身,让女主/观者欲罢不能~ | “每一个词都意味着缩短一英寸的距离。”“我的眼睛是什么颜色的?”(9.5/10)
我居然跟这片子里的女主角写了一样的论文= =+
暗夜中的罂粟花,非常罪非常美。Ángela不喜欢暴力电影却要写这方面的论文,Bosco的心就像故事里的小丑一样是坏掉的,却要用爱情来吸引受害者。我的眼睛是什么颜色的?
开篇众乘客纷纷围观自杀者惨状,结尾各病房集体期待虐杀录像;爱好重口味的摇滚青年其实内心羞涩善良,温文尔雅的帅哥与教授却是暴行实施者。于是,谁才是真正的暴力制造者、传播者与受众群体?阿曼巴处女作就能呈现出如此娴熟技艺与深刻省思,果然不俗。要不是中段各支线的拖沓,真是可以打满分的。
这里面有不少硬伤,比如那个参与制作电影的教授被杀后就这么消失了,没有任何交代,男女主角都没有嫌疑;地下室那一段也是。一度我怀疑过是帅哥的女友,因为吃醋,可是转了一圈还是帅哥,而且教授为什么会参与这件事,没交代。女主是个笨蛋。但整体而言我确实始终不确定到底是谁