“莲花”台风正在小心翼翼地刮过。

小时候，总以为台风就是从台湾刮起来的，直到初中上地理课时，才明白台风原是离台湾更远的洋面，升成的一股强大飓风气流，迅雷而狂奔。

《军中乐园》那暴风骤雨的时代早已远去，如同一场远去的横逆台风，但问题还在，最终何去何从，是自然走向还是人为走向，都有待时间验证……

2015、7、10

日据时期的1938年，少女珠兰被父母送到山间一处封闭的学校。她的来到，渐渐发现诸多离奇之事。

惊恐与不安，时时困扰着她。一个个鲜活的生命离她远去。

原来这儿只不过是一间日军通过活人实验的实验室。

韩国导演李海英的《京城学校：消失的少女们》（2015），画面唯美、安静，对人物的心理刻画也极为细腻。只是美少女们的结局，令人伤感。

历史总有千千结，七十年前的战争，总有诸多故事可以呈现。想必这也是日韩关系难以彻底改善的原因之一吧。

2015.7.26

本・萨弗迪、约书亚·萨弗迪兄弟俩的《天知道》（2014），一部彻头彻尾的迷茫影像，如片中14岁女孩佛里，被麦克和伊里亚这两个流浪毒男缠绕着，开始还有一个爱情痴情症的红衣男，但他望而退却了。

流浪、毒品和歇斯底里相连，这是如纽约这样大都市不能见光的公开秘密。

其细腻如惨淡地佛里割腕后的丝丝疼痛，更多的是内心深处的哀嚎。

电影获得第27届东京国际电影节3项大奖“最佳影片、最佳导演及最佳男演员”。

算是一部尽人事尽心力之作。

2015、9、13

Ruben Östlund携《自由广场》(The Square)摘得刚结束的第70届戛纳电影节主竞赛单元金棕榈奖。荧幕场刊给出了2.7的分数，低于排行第一的《无爱可诉》(Нелюбовь)，最后突出重围的《你从未在此》(You Were Never Really Here)，与Todd Haynes的《寂静中的惊奇》(Wonderstruck)持平，并列第三。

《无爱可诉》试图将镜头对焦于俄罗斯中产阶级现状，通过一出亲子关系的悲情戏投射于莫斯科阴郁且冷漠的普通家庭。《自由广场》则是对中产知识分子的讽刺：主人公Christian在影片中发生的桥段来自于身边朋友的生活，身份为当代艺术博物馆策展人的他在其中自嘲又自解，化解着内心的存在主义危机。《你从未在此》是我在将来的半年内最期待看到的影片，不仅仅是因为久未登场的Joaquin Phoenix（三年前连续轰炸的《她》(Her),《性本恶》(Inherent Vice)让我看腻最近又有些想念他），还有曾带着《凯文怎么了》(We Need To Talk About Kevin)强势回归大众视野的英国女导演Lynne Ramsay，此去一别，又是六年……

当然，最令人觉得兴趣盎然是Safdie兄弟的《好时光》(Good Time)，荧幕场刊2.6分，风格延续前作《天知道》(Heaven Knows What)，代入感强烈的碰撞在街头，心碎又满怀希望。

《天知道》将镜头对准纽约城市街头海洛因上瘾的年轻女孩Harley(Arielle Holmes饰演，她也是剧本的原创作者……一个有故事的girl?)，她深爱着自己的前男友Ilya并在注射海洛因的情绪诱导之后不惜为其当街割腕。出院后彻彻底底成为了一个接头流浪汉，在街边乞讨，用偷骗来的钱消费毒品与酒精……影片在结尾并没有对剧中出现的所有或好或坏的问题给出解决方案，没有正确错误的主观判断。兜兜转转回到了片子开头时候的原点，就像其中瘾君子的生活一样，找不到出路。

《天知道》的重要意义在于它如此真实的还原了一场令人心碎的不愉快经历，并无关于故事背景与未来发展，这一切都是当下的。也是因为Ben Safdie如此注重故事的真实感与社会性，在观赏电影的96分钟里，你会感觉Ilya与Harley都在触手可及的生活中，不断的与他们擦肩而过。我们一同成为了镜头背后的“观察者”，这一身份本身的意义就是不带有价值观处理的功能的。深焦、近景、手持的特写、快速移动的模糊背景……就这样进入了社会边缘人的生活，会有些许不适，会因为打斗而坐立不安，闭上眼睛不去看针管进入皮肤的尽头，同时又在怀疑着自由与社会制度共存的可能性——它们能够达到某种平衡吗？

值得一提的是，独立音乐人Ariel Pink用自己敏锐的观察力协助影像，为电影音乐的处理提供了一种全新的方法：全景式、电子化，本身就像极了一款听觉LSD。Arielle Holmes作为影片文本的原本创作者，自己演出自己的故事，本身也是Ben Safdie及整个创作团队对于作者性的尊重。《天知道》的出现重新定义了在荧幕前的我们与影像可以保持的距离，让我们沉浸在寻常生活体会不到的热烈中，如此直接和真实。

另：推荐Ariel Pink的专辑Pom Pom，惹人喜爱。

创作上情节的真实无序(一切按照事件可能会发生的逻辑随机出现而不是围绕剧本要传达的某个意义)和角色真实外延(真正的毒虫也是unpredictable)相映成辉，完全的新浪潮风格，摄影和调度也有很多大胆/复古尝试，比如隔着火苗的长焦镜头表现烧人，大量的特写。 影片之外来说，毒虫就是极度自私和极简社会关系，而这恰好就是每个人的真实自我，或许这就是观众感动的原因，因为他们侧面看到了他们被社会扭曲的、从幼时就存有的关于自杀、偷窃、强暴/胁迫、欺骗的内心深处。 另外，Safdie兄弟活动影像出字幕的intro和outro也算招牌手段了。

底层的美国人，过得的确不堪，好在他们有医疗保障，天朝如何？美国低收入家庭和穷人不少，在一些低收入家庭和穷人没有医疗保险的时期，洛杉矶县有条规定，当一个人因病或意外事故生命有危险时，任何医院的急诊室不准将病患拒之门外，不管这位病患有钱没有钱。如果医院要先收钱后救人，那免不了是要吃官司的。穷人患重症或要命的事，医院可以先把抢救和住院的费用记上账，如果病患真的是低收入而无力支付医疗费用账单，这些费用就由医院和病患协商，看看病患到底能支付多少，然后再决定交多少钱。

VENICE – The days of The Panic in Needle Park, to name one iconic New York City drug movie, seem long gone, now that most of Manhattan’s one-time junkie hangouts have been gentrified to within an inch of their lives. But in Heaven Knows What, Josh and Benny Safdie rescue that subculture from the invisible margins. They weave a small group of young heroin addicts into the fabric of the city streets with a grubby lyricism that’s visually intoxicating even if its emotional impact remains somewhat muted.
Following their detour into unconventional sports documentary with Lenny Cooke, the sibling filmmaker team returns to the scruffy aesthetic, raw authenticity and unstrung characters of their first feature, Daddy Longlegs.
Their new slice of life on the fringes is often hard to watch due to the pain, self-destructiveness and even the numbing Warholian monotony of the existences it depicts with a verite candor that owes much to John Cassavetes. But the film, which at times also recalls the lo-fi work of Gus Van Sant, is laced with moments of surprising poignancy, goofy low-key farce and even a weird kind of charm. It’s also distinguished by an intense screen-acting debut from Arielle Holmes, playing an unflinching version of herself and her own experience.
While the movie’s theatrical prospects are slim, the triple showcase of Venice, Toronto and New York Film Festival slots should help build a platform for VOD exposure.
Ronald Bronstein, memorable as the less-than-model parent in Daddy Longlegs, wrote the screenplay with Josh Safdie, based on Holmes’ unpublished memoir, Mad Love in New York City. She plays Harley, a homeless drug addict in an obsessive on-off relationship with Ilya (Caleb Landry Jones), whose nihilistic indifference extends to encouraging her suicidal impulses. That results in Harley slashing her wrist and landing in Bellevue in a mesmerizing sequence, played without dialogue and flooded with unsettling synth scoring.
Among the film’s most impressive qualities is the Safdie brothers’ boldly textural use of music — predominantly Isao Tomita‘s electronica versions of Debussy, but also a little Tangerine Dream and James Dashow, as well as some hardstyle and black metal.
The other standout element is Sean Price Williams‘ woozy cinematography, which hugs in close to the characters or sits back from a detached p.o.v., often shooting them in a bleached haze of light. They bleed into the visual field of sidewalks, storefronts, cars and pedestrians. This is not a portrait of New York’s junkie street subculture conveniently tucked into some skeevy pocket of the city. Instead they move freely, sometimes chafing against their surroundings, through libraries, Internet cafes, bookstores and fast-food joints.
The loose narrative tracks Harley’s half-hearted attempts to get by without Ilya. She brushes off the advances of abrasive Skully (rapper Necro) and slips into a friendship with Mike (Buddy Duress), an amusingly verbose dealer and fellow addict; he keeps her in smack but bristles when she can’t pay, his tenderness shifting to hostility.
While there’s a suggestion of a romantic triangle in Harley’s oscillations between Ilya and Mike, the Safdies are less interested in story or character than in immersing us in a milieu that most people would prefer to ignore. The film observes Harley and her cohorts “spanging,” street vernacular for begging, be it for spare change or subway entry; or stealing from a mailman’s bag, sifting through the contents for gift cards or cash.
A joyride on the motorcycle of Mike’s drug supplier Antoine (Benjamin Antoine Hampton) hints at momentary escape. But when the possibility of real deliverance surfaces via a hastily planned bus journey to Florida with the unpredictable Ilya, that notion is revealed to be an empty hope.
Heaven Knows What is a strange film, at once distancing and transfixing. If it’s not as impactful as it might have been considering the experiences portrayed, it has potent atmosphere and an admirable refusal to put any kind of gloss on the bleak reality of its limbo world. It also helps that Holmes, Jones and Duress, as well as the mainly non-actors in secondary roles, all inhabit their characters with real conviction.
Production companies: Iconoclast, Elara Pictures
Cast: Arielle Holmes, Caleb Landry Jones, Buddy Duress, Necro, Eleonore Hendricks, Yuri Pleskun, Benjamin Antoine Hampton, Diana Singh
Directors: Josh and Benny Safdie
Screenwriters: Ronald Bronstein, Josh Safdie, based on the novel, “Mad Love in New York City,” by Arielle Holmes
Producers: Oscar Boyson, Sebastian Bear-McClard
Executive producers: Charles-Marie Anthonioz, Mourad Belkeddar, Jean Duhamel, Nicolas Lhermitte
Director of photography: Sean Price Williams
Production designer: Audrey Tanner
Editors: Benny Safdie, Ronald Bronstein
Sales: ICM
No rating, 94 minutes.

http://tieba.baidu.com/p/3264279263

《天知道》根据女主Arielle Holmes的真实经历改编，讲述吸毒成瘾的她流落纽约街头的故事。关于吸毒人群的电影有很多，本片在情节上并没有太大新意，但是它的呈现方式却极具张力，影像粗砺，配乐迷幻，写实的同时又自成风格。

Arielle Holmes饰演的Harley性格火爆，嗓音粗哑，一双失神的三白眼让人一看就怀疑是吸毒者。这样一个现实中见了会绕道走的角色，在片中却神奇地吸引观众进入她的世界，跟随她四处漂泊，喝酒、吸毒、乞讨、偷窃，还有跟反复无常的男友Ilya相爱相杀。影片没有交代任何背景，各色人物走马灯般在Harley身边出现，消失，再出现。喧嚣冷漠的都市，一群蝼蚁醉生梦死，他们是如何一步步沦落至此的？这不重要，过去将来都不重要，对蝼蚁来说，重要的只有当下——今朝有酒今朝醉，明日愁来明日愁。

全片最爱的一个镜头：Ilya把情敌Mike送给Harley的手机抢过来掷向空中，手机划过夜空，在天上绽放出一朵巨大的烟花。

那一刻，所有外在都褪去，他俩相爱着，脸上有神圣的光。

几个印象深刻的镜头：

Harley自杀被送到医院后一段4分钟的长镜头，令人焦虑的电子乐遮盖对白，气氛紧张、诡谲；

Ilya捡了件里子破了的皮衣，Harley默默揽过来，掏出针线盒，用颤抖的手开始穿针；

Harley和Mike走在纽约街头，听Mike吹牛，长焦镜头，配乐是电子德彪西；

Harley死缠烂打向Mike要到4袋粉，一次性嗨完后靠墙看着恐怖片昏昏欲睡；

结尾蜡烛倾倒，同时响起影片开头的电子乐。

Holmes' first experience with crack cocaine was when she smoked with her mother at the age of 12. She dropped out of school in the 10th grade. After leaving school, she moved to New York City to live with her boyfriend Ilya Leontyev. The two fell into heavy drug and alcohol abuse, with Holmes first trying heroin at the age of 17. She was largely homeless for the next three years. Leontyev died of an overdose in Central Park in April 2015.

Holmes was scouted by Josh and Benny Safdie, the directors of Heaven Knows What, in Manhattan's Diamond District while they were working on another film (that would eventually become Uncut Gems). She had been hired as an unpaid intern by a jeweler after he saw her sketching on a subway train. Intrigued by Holmes' life story, Josh encouraged Arielle to write a memoir, paying her by the page. The resulting unpublished memoir, Mad Love in New York City, served as the basis for Heaven Knows What.

--Wikipedia