除了白人女孩长得还不赖，两个女孩身材还不错，里面的说唱还挺带感，其他什么都没看到。大家说的幽默，没看到，除了那个有点“二”的男友跳楼受伤有点搞味，是不是字幕翻译的原因。

故事是讲，白人女孩在一个简餐吧遇到了一个黑人女孩，看她身材很好，问她是不是跳舞的。黑人女孩说自己跳过钢管舞，于是留了电话，说下次可以一起去哪个酒吧跳舞挣钱，黑人女孩答应了。很快白人女孩打来电话，说有个酒吧可以跳舞挣钱。于是黑人女孩带着行李跟着白人女孩一起坐车出发了。车上还有一个黑人司机和白人女孩的白人男友。一开始很正常，他们找了一家旅馆落脚，然后到一个酒吧化妆，上台表演，挣了钱。正当她们要离开的时候，开车的黑人男说还有个生意，黑人女孩不愿意干，但是被黑人司机恐吓，知道她的家庭住址，黑人女孩只能乖乖去了。等黑人司机将黑人女孩和白人女孩关进一个房间等人时，黑人女孩表示可以陪白人女孩，但是绝对不出卖自己，白人女孩同意了。但是后来黑人女孩觉得白人女孩要价太低，就重新帮她拍了照片，议定了价格，结果那天晚上她们挣了很多钱。第二天，黑人司机来收钱，然后把他们带回了旅馆。黑人女孩要离开，但是黑人司机还是不让，让他们晚上再挣个钱再走，结果第二天，白人女孩被第一天白人男子结识的两个胖黑人掳走了。黑人女孩赶紧求援，黑人司机和白人男友赶到，用枪击伤了黑人，救出了白人女孩……

白人女孩应该是个老手，黑人女孩是被诱骗，后又被强迫，幸亏她还是比较有主见，才没有受骗上当。但是黑人女孩自己肯定也不清白，不然为什么不报警，而且还有几次，被威逼后没有反抗，只是说两句又顺从了，自己也有问题。白人男友挺没用的，白长个子了……

分辨率：2K(1920x1080)

电影格式：M2TS

画质标准：HDR8

音质编码：DTS-HDMasterAudio

电影声道数：6声道

帧数/FPS：23.976 帧

电影大小：24.80 GB

《左拉》是由加妮克扎·布拉沃执导，泰勒·佩姬、丽莉·吉欧、纳西尔·拉希姆和阿里尔·斯泰切尔等联合主演的剧情犯罪片。该片讲述了钢管舞舞者左拉与相识不久的姐妹，共同前往其他城市的夜场赚取外快，却不幸遭遇变故的一系列故事。

《左拉》由名不见经传的A24公司发行制作，这是一家成立于2012年的美国独立电影公司。他们以发行电影起家，近年来开始参与制作和投资电影，目前已成为搅局好莱坞的一匹黑马。作为一家独立电影公司，A24一直专注于小众题材电影，其团队非常低调很少接受采访。但随着他们的电影作品在口碑、奖项和票房上不断斩获，越来越多的影迷开始认识乃至期待A24的作品了。

《左拉》以社交网络上真实发生的故事为线索，上演了一出别具一格的美式小品。尽管影片在制作上几乎毫无成本，但其故事本身却依旧很吸引人眼球。

Dyaaamn gurrrl! This shiiit is tight & you hos are gold!! I mean not "good as sum white lefty hos Avatar good", but trailer park white trash & 'em fried chicken N water melon ghetto nigga good! U C whah I meaaan? Werk it gurrrl N twerk dat nasty biiitch phaat booty like when you did dat 148-page muddafakin' tweeter! You sing it sista! P.s. where dat white betch now at, Zola? Her kids & dat dumbassed white nigga new hubby all tight?

*********

当下trashy的流行文化及各种爆款网红自我广播的最佳注脚，这位黑人女性导演的节奏和表达方式与技巧无懈可击。

P.s. 墙裂推荐观影前后找来Zola当年在推特上的连载长推伴随食用

圣丹斯电影节2021年展映片，重现当年推特上轰动一时的Zola “话题”

“Y’all wanna hear a story about why me & this bitch here fell out??? It’s kind of long but so full of suspense“

The film is designed and structured like social media. Filmmaker Bravo fittingly makes you feel like you’re scrolling and reading through the film. It lays everything bare – the dusk laden with bewitching color and the extrinsic coolness has something endearingly personal about it. But at the same time, it also seems convenient and at home with its exciting atmosphere, technicality, and plot. So much so that the director seems to lack the sharpness it could have had. At times, the writing doesn’t have enough clarity about its liberties (if any) and something truly feels blank or rather astray about the progressions.

Authored from a Twitter thread that goes viral, Janicza Bravo’s second feature film ZOLA makes a heavy weather of its grassroots obscenity. Zola (Paige) is an African-American waitress and part-time stripper living in Detroit who finds a fast friend in Stefani (Keough), also a stripper. Invited by Stefani, along with her boyfriend Derrek (Braun) and roommate X (Domingo), for a weekend trip to Tampa, Florida, ostensibly to earn some cash in a strip club, Zola is plunged into an unsavory 3-day escapade that ends with blood-spurting and a suicide attempt.

Purportedly based on the real story, ZOLA smugly shoves its stranger-than-fiction novelty down our throats, you don’t need a keen sense to suss some whoring carryings-on are afoot, and the two girls’ solidarity is paper thin, who can trust a friend you are merely acquaint with for a day? Zola’s own moral compass is also shonky.

That said, squatting in the moral high ground, Zola (the movie is her story to tell, Stefani’s perspective is apportioned to a short stint, but her say-so is so flimsy that whatever comes from her mouth barely holds water) becomes the reluctant minder of Stefani’s escort business, but not for once, she debases herself in the sack, on top of that, she is so canny that it makes Stefani and X, yes, he is her pimp, look like greenhorns, the two cannot even fathom a fair market price for their service. That sounds suspiciously self-boasting in Zola’s part.

I’m not saying that what Zola tells is not the truth, only by my lights, I think everyone should take an autobiographical source material with a pinch of salt, when the author remains squeaky clean amid the grubby mess, it often impairs the story’s credence. Also, the script fails to energize Zola’s own actions, most of the time, she just goes through the motions with a miffed passivity, silently passes judgment to what happens, she has ample chances to skip town but she poutingly stays, both fascinated and disgusted by the rabbit hole she descends into. Plainly put, you just cannot warm up to Zola, Paige gives a fine performance, but Zola is a cipher, she hogs the spotlight but has no flex to flourish .

Keough is at risk of being typecast as a white-trash girl of fickle and untrustworthy dispositions, no sparkles fly between her Stefani and Paige’s Zola, girl power has nothing to do with their guarded interactions. Conversely, the male actors comport themselves much better, Jason Mitchell has his moment as a slimy trickster; Braun’s gangly desperation of a schlemiel has a modicum of innocence in the center that it even feels touching, and Domingo is scary, despicable but also eloquent in incarnating X’s mutable facets, he is the real deal among the fold, yet, we are saddled most of time with two lesser creatures, in this prismatic, grainy, symmetry-abiding, faux-candid exploit that never fully rises to the occasion to be a legit sensation, and inter alia, Mica Levi's distinguishable score deserves a better story to shore up.

referential entries: Andrea Arnold’s AMERICAN HONEY (2016, 7.9/10); Safdie Brothers’ GOOD TIME (2017, 7.1/10); Lorene Scafaria’s HUSTLERS (2019, 6.6/10).

Title: Zola

Year: 2020

Genre: Comedy, Crime, Drama

Country: USA

Language: English

Director: Janicza Bravo

Screenwriters: Janicza Bravo, Jeremy O. Harris

based on the tweets by A’Ziah King, based on the article by David Kushner

Music: Mica Levi

Cinematography: Ari Wegner

Editing: Joi McMillion

Cast:

Taylour Paige

Riley Keough

Colman Domingo

Nicholas Braun

Jason Mitchell

Ari’el Stachel

Sophie Hall

Ts Madison

Nelcie Souffrant

Rating: 5.9/10