死亡与变形

这是一部气质极其冷峻的压抑之作，戴维斯用近乎粗砺的镜头语言，将青春期的暴躁、焦虑与幻灭感展现得淋漓尽致。影片将庞德经典的反乌托邦文本改编得支离破碎，叙事仿佛梦游般迷离，充斥着幻肢般的失重感。导演将超现实主义的冷峻基调与西部片的粗粝质感完美融合，没有一丝拖沓。影片镜头语言精准，光影运用极具诗意，色调压抑却迷人。 影片最绝的地方在于它打破了线性叙事，用多重时间线交织成一首关于生命终点的离奇挽歌，既荒诞又残酷。这是一部关于爱与离别的私密画卷，如果你厌倦了无脑爽片，渴望在细腻的剧情中感受生活如诗般的哀愁与韧性，那么这部影片绝对值得你静下心来细细品味。

In sepia tones, the film moves back and forth among three periods in Robert Tucker's life he's an old man, near death, in a nursing home at Christmas time; he's in middle age caring for his cheerful but dying mother; he's a lad at Catholic school, practicing his catechism, going to confession for the first time, receiving the Eucharist, surrounded by the singing of a children's choir. In middle age, he looks through his scrapbook of photographs of muscular men; he recalls lovers and his mother's cremation. A nurse sits beside him on his last night; in his last breath, he reaches forward and back..

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