童话2022

故事是这样的：二战后的苏联，德国战俘营里来了个文盲老头。全片几乎全靠亚历山大·巴耶尔那一双长手撑着：从拿着酒杯欲言又止，到流着鼻血茫然地看着窗外，甚至在哭的时候也没失态，这股子松弛又疲惫劲儿，跟咱们那些在职场或生活里强撑着不崩盘的中年人一模一样。影片放弃了激烈的动作场面，转而通过极长且窒息的特写镜头，捕捉士兵脸上颤抖的微表情和灰尘在眼皮上的晃动，用静态的压抑感替代了动态的爆炸声。如果你对银幕上的战争套路感到厌倦，渴望一种能直击灵魂、引发深思的叙事体验，这部冷峻的艺术片不容错过。:D。对于厌倦了商业战争片套路、渴望体验极致压抑与幽闭恐惧心理博弈的观众来说，这部片子更像是一场漫长而令人窒息的精神解剖。

　　In Skazka, Alexander Sokurov weaves digital magic to create a phantasmagorical vision of the Afterlife, worthy of Dante. But wait: are we in the limbo of Purgatory, or a paradoxical Paradise reserved for notorious men of world history? Mussolini, Stalin, Hitler, Churchill and more: all are present and accounted for. Since they exist only as archival media images, each figure comes in a serial set.
　　In the blackest of political comedies, these fallen men beg, in turn, to be let through Heaven’s Gate – but the angels who peek through never open wide. Little wonder, as the former leaders wander listlessly, bitching (in a Babel of multiple languages) about each other’s clothes, hair and hygiene.
　　In what is effectively a work of animation, Sokurov has pulled together many talents into an extraordinary technological feat. It blends pictorial elements from art history to form an endlessly unfolding landscape, replete with fog and ghostly armies of the sacrificed victims of history. Announced as Sokurov’s last film, Skazka is an inspired riff on the high culture of Peter Greenaway mixed with the low culture of mash-up artists Soda_Jerk. Can we now expect some entrepreneur to bring us the interactive Skazka video game?

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