第七日，第八夜

这部时长仅60分钟的黑白短片堪称影史瑰宝，节奏极简却张力十足。丽芙·乌尔曼与马科斯·施莱泽凭借细腻入微的表演，让观众真切感受到那份苦涩。剧中不光有枪林弹雨，还有无孔不入的阿谀奉承和猥琐人性，那种荒诞的强烈对比非常抓人。 它不靠大场面堆戏，全靠演员的眼神戏撑着，镜头直怼人物内心，那种沉重感简直要溢出屏幕。戈尔吉·维甘导演以冷峻的镜头语言和复杂的非线性叙事，将观众抛入昼夜交替的混沌时刻，让人时刻紧绷神经。 查尔斯·丹斯在片中展现了教科书级别的表演，尤其是那场眼神戏，仅用眼神就演活了压抑与渴望。

This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script.　　The director Evald Schorm (1929-1988) was one of the most original members of the Czech New Wave. During the normalization era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the Na zábradlí Theater and Laterna Magika.

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