C / 马力克的镜头似乎总是流动、柔软、不断向水平两侧画外渗透的因此哪怕在描绘人物最痛楚最受压迫的时刻他也以影像的神性给予其延展的喘息但这种空间的营造始终难逃同质化抒情的风险本片里最摄人心魄的反而是那些构造了垂直视点的时刻:让监牢真正逼仄逃无可逃让天空不再宽广而只剩下信仰的叩问在试图让一切无缝连接的世界中偶尔的断裂反而更被需要——好比Franz就是那个时代的断裂位点一样
Wow I guess I really don't like musicals. Why can't they be less stage-y and more dramatic like Chicago? Also there's nothing more dangerous and stupid at the same time than a gang of young men who think they are cool and serious and all they end up being are violent douchebags.