偷桃贼

看《偷桃贼》时，那种压抑感像湿漉漉的雾气一样裹着你。 这部片从不是直白的抗战檄文，它像巴尔干的雨丝一样细密——你得耐着性子看马尔科把偷来的桃子分给饥民时，镜头突然切到伊万正在烧毁一张写满名字的纸条；看母亲捧着儿子带血的衣服，背景里传来远处的炮声却没有配乐。 内韦娜·科卡诺娃饰演的小女孩玛尔塔，没有哭腔或夸张表情，只是在德军巡逻灯扫过玉米地时，把偷来的桃子悄悄塞进怀里——这个“藏”的动作像把刀，划破了“战争只有仇恨”的陈词滥调。内韦娜·科卡诺娃的表演极具张力，她将修女在信仰与本能之间的挣扎演绎得淋漓尽致，那种眼神里的惊恐与渴望，比任何台词都更有力量。没有歇斯底里的哭喊，所有痛苦都裹在“偷桃”这种小事里——战争不是突然的爆炸，是偷桃时踩碎的枯叶声，是分桃时指尖的温度，是你明明知道前面是地雷阵，却还得替死人完成一个“想吃桃”的妄想。如果你厌倦了英雄主义的宏大叙事，想看看战争如何具体而微地碾碎一个普通人的灵魂，这部片子会给你很大触动。

　　World War I is coming to its end. Prisoners of war are coming into the town with Serb Ivo among them. During one of his escapes from the camp, he finds himself in a private garden. There he meets Lisa, the wife of the town-major - a severe and heartless colonel. She is sad, lonely and her meeting with the Serb develops into a deep mutual love. Their meetings become more frequent. But the lovers are doomed. The war prisoners are moved away and as Ivo comes to bid her farewell, he is shot to death. Written by Georgi Djulgerov {major@bitex.com}

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