来自远方2015

第16届#法罗岛电影节#主竞赛单元第1个放映日为大家带来《来自远方》，下面请看前线小青年面对老辣之人们束手就擒的评价了！

Prometheus：

这片子结尾后劲还挺大的，姜还是老的辣啊。

Polaris.J：

文本很好，出乎意料，虽然是伦理片但是好喜欢掰弯的情节！

给艾德林的诗：

也是留白到让人尴尬症发作的片，而且全无什么留白的必要，真是苦了赵亮的《悲/兮/魔/兽》。

George：

王家卫跑去阿根廷、毕赣直接抄标题也没整出来的拉美小说味道——那种沉着地将人物玩弄于股掌中的作者的劲。

Pincent：

“1.0构思”的同性题材拍法，也不喜欢从开头到结尾的过度drama，唯一有趣的是对超宽画幅景深镜头的试用，仅此而已了，相信金狮是赵亮的。

盆满钵满赵+：

过度冷静地拍摄了一个戏剧性很强的故事。你为我弥补了内心中的无数空洞，我却没办法猜透你的心思，在孩子的视角中太难过了。结尾中阿曼达的眼神也过于怜悯了，一个镜头仿佛讲了另一部电影的内容。

果树：

平心而论人物和情节惯常出现的对立关系，在这里边处理得挺平衡的，但这也只能让它成为不错的电影，很难让人打从心底喜爱。我想这和零配乐以及过于冷静的镜头有关系，它或许不是展现这么个有点拧巴的剧本的最佳视听方案。

苍山古井空对月：

中年大叔掰弯少男记。主角二人关系的变化如同一场博弈，看似埃尔德从阿曼多身上薅羊毛，实则自身逐渐被套牢。影像方面，实焦与虚焦、画外元素、画框运动的限定都传递着隔阂感，但也正因这种冷淡处理方式，情绪方面不够抓人。

RIVER：

文本简洁而不简单，故事拍得耐人寻味，重点还是借由同性之爱解构父权社会，男主父亲对其挥之不去的阴影，年轻人重走父亲的老路、对跟和自己父亲一样大的恋人近乎狂热的爱，乃至于男主一夜缱绻后的失魂，都是对父权体制的不自觉的投降。

莫扎特仑苏：

无产青年终是韭菜，再暴戾凶狠也敌不过阶级和权利碾压，这是一部关于男性的电影，电影看似简洁，实则却把人格简单化，最终重蹈父亲覆辙的结局让悲剧归结为无法打破的阶级和父爱缺失，对于电影节参赛作品这种笼统的取巧命题显得有些功利。可能金狮就好这口吧。

我们敏熙：

令人震惊，处女作便有了此种掌控能力。在短篇幅，弱叙事的条件下，以精妙的导演掌控力轻松化解了这个意味深长的故事。看了看当年威尼斯评委阵容，果然是以导演为主导，阿方索·卡隆、侯孝贤、锡兰、帕维乌·帕夫利科夫斯基和琳恩·拉姆塞的豪华导演阵容这批人会选这部当金狮真是毫不意外，他们的作品不也正是追求着要达到这种效果么？

子夜无人：

因为欲望而相遇的两人，临近尾声性事才真正发生，并不是因为理智一度战胜了本能，那种小火慢炖的煎熬一直在燃烧；也不是因为人最终还是要服从于蒸烤的体温，反而恰恰在于他们磨平了各自心头的余孽，肉体相亲的时刻才可以换来安宁。当一个人成为另一个人精神上的父亲，他又在想象中补全了自己曾作为儿子的身份；他站在道路另一边目睹他被捕，命运的盘扣到此打为死结，车水马龙的街道形同曝尸的荒野。

Hethang：

电影跟世界上任何一个东西一样，都不能走极端。你既不能在自己根本就无力支撑的内容里塞进一大堆内容，也不能把去繁就简做成这种极致样子吧。导演利用了有限的镜头处理和绝对冷静的场景刻画这种一眼望得到头的处理方法，结果不仅没有让两位主人公之间的矛盾得到一种有机呈现，反倒是加重了故事的支离破碎感。更气愤的是当你好不容易将这些碎片拼凑起来之后，却发现竟是个看了一眼倒觉得还不如把它砸碎的情节，不仅没能让观众有清晰之感，反而更有一种闯入迷雾的感觉。

连带着男主角阿尔佛莱德·卡斯特罗真诚质朴但是过于隐忍的表演和没头没尾完全通过气质传递的整体设计理念，这简直就是对“大袈裟”的最好诠释。然而这样一块破布，没人关心，也没人留念，无非抽过来擤个鼻涕，然后扔掉，事了拂衣去罢了。

我略知她一二：

"深情若是一桩悲剧，必定以死来句读。"有些故事你从开头就可以预见结尾，而你却心甘情愿的任由飞蛾扑火，是因为火焰的炫丽而让你目不转睛吗？其实你的内心也不敢承认，你只是想让那只傻傻的飞蛾靠近你，就算只是自私地靠近一会，就像你会亲手结束飞蛾的生命一样，这难道就是爱吗？

我向来不认为简洁是评价一部好电影的标准，但是《来自远方》让我觉得或许这种无声的白描才是这个故事最正确的打开方式，屏幕外的焦急和疑惑从头到尾都没有等来一个解释，因为这是一场没有目的的侵略，一场没有理由的战争，你从受害者变成独裁者，他从侵犯者变成情迷者。细微的变化却带来了雷霆万钧的连锁反应，没有人知道下一步会发生什么，因为这段关系早已渐渐失控了。

爱情从来都不是遥不可及，而是不敢触碰，因为你知道有些东西一碰就碎了，而你的东西本来就是碎的，它不能再碎了。你给了他最想要的欲望，然后亲手打碎了他。毁掉一个人最简单的方法就是让他爱上你，就算这是一种两败俱伤的结局，就算你最后也变得支离破碎，就算是屏幕外的人过度解读，但是我承认你赢了，你让我在这段扭曲的感情中窥探到自己的情感轨迹，我和你一样，都在不知不觉中红了眼眶，变成了一个压抑的野兽，狂怒而无法释怀。

不管你是否承认，影像的力量都是无穷无尽的，你可以因为一次欢爱而目瞪口呆，那种感觉就和你第一次和你爱的人做爱时那种情不自禁的生理反应一样，羞怯而珍贵，美好而铭记；你可以因为绝望的凝视而痛哭流涕，那种感觉就像洪水终于决堤、大坝终被冲垮一样，你不用再掩饰和忍耐任何情感，因为终于把它们释放出来了，你不再是一个懦弱的人了，你开始正视回忆的尸体，然后亲手把他埋葬。

#FIFF16#主竞赛单元第1日的场刊将于稍后释出，请大家拭目以待了。

Propitiously won Venice’s Golden Lion in 2015, FROM AFAR, the debut feature of Venezuelan filmmaker Lorenzo Vigas, ostensibly purports as a queer relationship drama exploring the class discrepancy in a sink neighborhood of Caracas, when a middle-aged, well-off denture manufacturer Armando (Castro) pays a street yob Élder (Silva) to quench his libido.

But Armando has an unorthodox proclivity, physical contract is strictly off limits, he is perfectly satisfied by a distanced wank, echoing the title “from afar” (even no need of visual genital aids from a youthful body), as if he is both aroused and repulsed by a young man’s body, which underlines his own troubled past, it is a transaction solely thrived on monetary terms. But Élder appears different from his usual biddable commodities, he is more recalcitrant, incandescent and restive, which challenges and intrigues Armando to take a different approach aiming to tame this beast, ergo, go-arounds of earning one-upmanship pan out in Vigas’ self-contained narrative with staggering restraint and unrelieved elisions, for instance, the missing father is an obvious vacuum in both men’s lives, but Vigas has no intention to expound what happened between Armando and his estranged father (sexual abuse?), without even a medium shot of the latter, what we see is only the action of Armando dogs him relentlessly, and coolly articulates that he wishes him dead.

Eventually, it is Élder’s bruised dignity, inherent impressionability and have-nots status altogether that puts him on the back foot, after Armando’s munificent gesture of rescuing him from bovver, paying off his debts and contest of superior manliness, Élder avails himself of physical capital (the only thing he possesses) to show his gratitude, but is rebuff with a slap in the face. At that point the balance tips towards Armando, he now has Élder completely at his beck and call, who finally find a father figure to fill that missing hole, yet to Armando, Élder is nothing but a perfect executioner of his long-gestated vengeance.

After that, Armando vouchsafes Élder the physical satisfaction the latter hankers for as a thank you, then throws him as a spent sidearm to the mercy of police force in the gritty finale (like father, like son, Élder ends up exactly like his own father), which even triggers viewers to second-guess the verity of the man we assume as Armando’s father, a telltale shot of both men in an elevator shows no apparent recognition from a father to his son might suggest the older man could be a target Armando is assigned to rub out, a theory supported by him being the same killer from Pablo Larraín’s TONY MANERO, also played by Alfredo Castro with a peculiar gusto of perversity, and this time, he cunningly finds him a perfect whipping boy.

Castro gives an unforgiving, enigmatic impression as a victim-turned-victimizer out of a vicious cycle passing from fathers to sons, who is capable of projecting a soul-searching gaze that is smolderingly pregnant with manifold rays of emotions. Youngster Luis Silva, on the contrary, invests a throbbing directness that salts the masculine tug-of-war with his own macho swagger, perplex and conflict, vividly. Habitually playing up with his in focus/out of focus perspective, Vigas makes a big splash with FROM AFAR by intelligently excoriating the core of a cankerous male mentality concerning what constitutes the masculinity as we know it today, a scope well above his genderqueer front and accomplished with a refined difference.

referential entries: Pablo Larraín’s TONY MANERO (2008, 7.2/10); Sebastián Lelio’s A FANTASTIC WOMAN (2017, 7.7/10).