童话2022

说真的，看《童话2022》就像在听黑胶唱片，画面基本是静态的。约瑟夫·克洛斯平静而内敛的表演，将那种令人窒息的沉默张力演绎得淋漓尽致，适合那些喜欢通过幽闭空间与心理独白来反刍历史厚重感的严肃影迷。亚历山大·索科洛夫不怎么在镜头里动，只用他那种几乎静止的长镜头把你架在椅子上，连呼吸都显得多余。尤里·塔拉索夫在空旷圣彼得堡街道的独白，将宏大的战争虚无内化为个体精神世界的崩塌。这种碎片化叙事迫使观众在真实与虚构的缝隙中自行拼凑意义，适合热衷于结构实验、能在漫长留白中感受存在主义焦虑的深度影迷。 :-)。

　　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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