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
最近被迫通看萨弗迪。
我很难将【天知道】和其他与毒品相关的电影去比较,更倾向对比那些关于爱情、日常与时代的作品。比起【爱在黎明破晓前】,我更喜欢【天知道】,可能是我偏爱原始性的情感,比起絮絮叨叨,忙忙叨叨更得我心。也想起【我想和你好好的】,但后者是文青作,和前者的时代作不太一样。
【天知道】带有非常当代的电影感,非职业演员和恣意的跟拍运动镜头、大特写、带前景的外景拍摄也都符合我对当代电影感的审美趣味。
萨弗迪作品着藏着宿命
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.
天知道:drug story
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