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可惜了，這種讓人興奮的骨科支線本來大有搞頭，可惜放在內(nèi)娛了，就像往化糞池里丟了塊磚頭，墻上濺到了黃點(diǎn)，但化糞池咕嘟咕嘟幾下又趨于平靜了。對(duì)，我說的就是屎一樣的男女主線，男主演技油膩，使整部劇像吃了5斤油魚坐在馬桶上翻江倒海鑼鼓齊鳴的產(chǎn)物。

搖擺于紀(jì)錄片和真實(shí)電影之中retraces a journey from the end of summer to deepest winter, from East Germany, across Poland and the Baltics, to Moscow. It is a voyage Chantal Akerman wanted to make shortly after the collapse of the Soviet bloc, “before it was too late,” reconstructing her impressions in the manner of a documentary on the border of fiction. By filming “everything that touched me,” Akerman sifts through and fixes upon sounds and images as she follows the thread of this subjective crossing. Unfolding without dialogue or commentary, FROM THE EAST takes the form of a cinematic elegy.

第二季比第一季好多了，每個(gè)人物的性格在這里更加鮮明，歐美劇里經(jīng)?？梢钥吹诫S處可見的果體，性與毒品，cool~

偉大杰作，每隔幾年重溫。我太喜歡這部片了，喜歡到愿意誓死捍衛(wèi)它的焦躁、慢熱與無疾而終?，F(xiàn)實(shí)從未遵循過電影金科玉律般的起承轉(zhuǎn)合，而當(dāng)我們鐵了心咬定故事欠一個(gè)答案時(shí)，恭喜你，芬奇做到了至今所有刑偵犯罪電影從未做到的事——切身感受辦案者們糾纏著執(zhí)念、怨艾甚至不輸兇手的罪惡感的復(fù)雜內(nèi)心。然而在即使這么 Indie 的松散劇本里，芬奇依然能用精準(zhǔn)嫻熟的拍攝醞釀出迷離驚悚的氣氛，吉倫哈爾夜訪地下室那場(chǎng)戲比無數(shù)恐怖片的橋段都更令我提心吊膽，多年仍未忘懷。

唔，B站又看一遍，沒字幕很痛苦。但是很喜歡