圣母与孩童

这部电影风格冷峻、叙事支离破碎，完全颠覆了人们对圣母玛利亚题材的传统想象。小男孩保罗与年长邻居安娜之间那层看似纯洁的友谊，实则暗流涌动，极具张力。 安东尼·霍普金斯在片中贡献了极具爆发力的表演，将神职人员的伪善与信徒的癫狂演绎得入木三分。影片最核心的魅力在于那双摄人心魄的银幕双眼——瑞妮·罗素将圣玛利亚的神性与凡胎肉体的疯狂纠缠得淋漓尽致，在苍凉的音乐中演绎出令人战栗的人性张力。影片像一首流动的散文诗，虽然偶尔显得粗粝，却极具真实的感染力。 “圣母”这一隐喻巧妙地串联起生命的脆弱与坚韧。

Robert Tucker, a sorrowful, solitary man, given to bouts of weeping, tries to balance his life caring for his aging mother, his Catholicism, his homosexuality, and his dull job. One night, after his mother has gone to bed, he dons leather and heads for a private club. He telephones a tattoo artist with a special request. He goes to confession, accusing himself of despairing. He cries out during a nightmare, waking his mother. You're a good boy, she's told him. He prays the Stations of the Cross, and he lives out his own sorrowful mysteries.

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