Chained for Life tackles an issue that's rarely seen discussed yet is absolutely pervasive in any conceivable human society: lookism. The character in the film plays a character who plays a character; in this blending of set and reality, truths are told through lines and lines have become truths. In the meantime, the weight of (unwelcome) truths is cancelled the moment when reality breaks in, much like in real life truths have become unspeakable and people have made a habit of covering them with frivolous jokes and trivialities.
#ArtHouse# of the year. The unconventional definitions of comfort and discomfort, associated with one’s skin and the soul under. The best movie in a movie. Multiple motifs carried out without appearing to be too trying. One of the films to love even if there’s little to relate to personally.
Meta 79的高分，這看得我有點(diǎn)懵...
算了吧，這終究是一個(gè)看臉的世界
這腫頭也算是因禍得福了，和寡姐還有過(guò)合作
Chained for Life tackles an issue that's rarely seen discussed yet is absolutely pervasive in any conceivable human society: lookism. The character in the film plays a character who plays a character; in this blending of set and reality, truths are told through lines and lines have become truths. In the meantime, the weight of (unwelcome) truths is cancelled the moment when reality breaks in, much like in real life truths have become unspeakable and people have made a habit of covering them with frivolous jokes and trivialities.
標(biāo)記
spectacle turned fairy tale
MUBI.
7/10
若你喜歡怪人。算了，我不喜歡。。
原諒我看不懂這種藝術(shù)。
女主的審美觀真的有點(diǎn)異于常人，有點(diǎn)不可思議。而且看完整部電影都不知道主題是什么。
節(jié)奏。點(diǎn)線。多重故事。今天碰到DP，平時(shí)居然是IBM全職
終于看到一部好的mumblecore新片了。b級(jí)片戲仿，赫爾佐格（一個(gè)操著德國(guó)口音英語(yǔ)的歐洲藝術(shù)片導(dǎo)演）戲仿，“一個(gè)疤痕殺手”，snap zoom和“像Orson Welles那樣”的笑話。導(dǎo)演演員剝削物化patronizing畸形人而不自知，實(shí)際生活又與他們完全隔離——畸形人住不了賓館因?yàn)椤皼](méi)有無(wú)障礙設(shè)施”，睡在好似集體病房的整形醫(yī)院有優(yōu)生學(xué)的黑歷史，但對(duì)此畸形人皆無(wú)特別反應(yīng)。普通與畸形演員在呈現(xiàn)“故事”（外表之外我們另一種同世界交互的方式）時(shí)的錯(cuò)位，讓人感到作者不是只想講lookism及其在電影文化上的影響。觀眾不會(huì)被迫為片中的邊緣人物產(chǎn)生同情，而這正是影片的point，他們就是同我們一樣的人，有自己的想法與創(chuàng)造力，就像結(jié)尾那個(gè)“普通”的出租車司機(jī)，很可能是個(gè)隱于人海的天才。
雖然厲害，但是故弄玄虛
#ArtHouse# of the year. The unconventional definitions of comfort and discomfort, associated with one’s skin and the soul under. The best movie in a movie. Multiple motifs carried out without appearing to be too trying. One of the films to love even if there’s little to relate to personally.
0.2/10 再怎么看，也未曾想到此片竟然會(huì)是《宣言》降級(jí)版。沒(méi)有了美貌演員的換裝秀，本就漫長(zhǎng)晦澀的故事更難以忍耐。當(dāng)然，這部電影我只能感到的是各位制作人與表演者為滿足自己的欲望而亂拍一氣的一堆廢料，絲毫沒(méi)感到有任何深度。戲中戲的手法不是不歡迎，但越往后故事越亂，更別提剪輯全程下線。拿著一個(gè)沒(méi)有完整展現(xiàn)的電影劇本，念著其中毫無(wú)價(jià)值的臺(tái)詞。你說(shuō)這是藝術(shù)，我不會(huì)斥責(zé);但在本人看來(lái)，這部電影真的只能用"垃圾"來(lái)形容。
致敬了Pauline Kael和Tod Browning（開場(chǎng)箴言及她打扮的助理；Freaks 1932），除了演員的論述外，片中片一直在創(chuàng)造“看見(jiàn)并非真實(shí)”的環(huán)境，甚至最后尼日利亞司機(jī)的畫外音引出的也不是另一處故事，而是繼續(xù)驗(yàn)證不同場(chǎng)景下表演類似性的理論；
話癆電影
有點(diǎn)老驚悚片的味道，鏡頭里的異型表演和鏡頭外的對(duì)稱完美，故事里的主題哲理和故事外的現(xiàn)實(shí)無(wú)奈，反差對(duì)比的審美觀
戲里戲外交叉相應(yīng)