C / 馬力克的鏡頭似乎總是流動柔軟不斷向水平兩側(cè)畫外滲透的因此哪怕在描繪人物最痛楚最受壓迫的時刻他也以影像的神性給予其延展的喘息但這種空間的營造始終難逃同質(zhì)化抒情的風(fēng)險本片里最攝人心魄的反而是那些構(gòu)造了垂直視點的時刻:讓監(jiān)牢真正逼仄逃無可逃讓天空不再寬廣而只剩下信仰的叩問在試圖讓一切無縫連接的世界中偶爾的斷裂反而更被需要——好比Franz就是那個時代的斷裂位點一樣
Literally WTF. Ridiculous storyline… Ansel Elgort’s performance… and the gangsters in the 60s sashayed like they were Mama Ru’s children? But also, such great supportive acting, dance numbers, and production design. Alas, a long sigh.