谁能杀死孩子？

就是2个没脑子人的故事

不要看 气死人 不要看 气死人

不要看 气死人不要看 气死人

不要看 气死人不要看 气死人

不要看 气死人不要看 气死人

不要看 气死人不要看 气死人

不要看 气死人不要看 气死人

不要看 气死人不要看 气死人

不要看 气死人不要看 气死人

不要看 气死人不要看 气死人

不要看 气死人不要看 气死人

不要看 气死人不要看 气死人

假如有一天，当大人们从梦中醒来时，发现自己的孩子在床头一面微笑，一面拿起锋利的武器砍向他们的头颅。这是他们的孩子，那个朝夕相处，怀胎九月的生出的孩子，也是现在要杀死他们的孩子。而这一天，是属于孩子们的胜利，他们仿佛在一个盛大的舞会上翩翩起舞，谁又能杀死孩子？ 电影所描绘的末日寓言式的场景，作为1976年的电影，没有3D特效，电脑特效，单纯依靠于镜头，演技和剧本，却依然能营造出骇人的恐怖气氛。它不仅仅是一部恐怖片 ，更是一部值得深思的寓言。印象深刻的场景是影片开头6分钟的战争场景，以及电视报纸中不断穿插的冷战和越战的报道，无声的控诉战争对于弱势群体特别儿童的迫害。配乐也是牛的不行，每次观影因为有配乐的搭配，让人毛骨悚然，不寒而栗。总的来说，该电影是一部绝佳作品，也是我最喜欢的西班牙电影之一。

鼓起勇气看了这部片子，真正的恐怖片不需要多血腥也能让人不寒而栗，这部其中要表明的其他东西我还需思考。很佩服这部片子，镜头和立意都很优秀，难以想象是1976年的电影。片头播放了一些历史事实，孩子们在战争和灾难中是最大的受害者，在奥斯维辛纳粹用孩子做实验，中南半岛的孩子被美军烧伤，非洲的孩子被大量饿死……而之后的正片中一个小岛的孩子开始在一个晚上屠杀成年人，孩子们欢笑着，天真的欢笑着，拿着刀子和棍棒对成人施暴。大人们被迷惑然后被杀死，没有人会怀疑孩子，以至于片尾被孩子围殴的男主会被海上来的巡警当成施暴者杀死。整部片子都是在对那些伤害孩子们的人的讽刺。

谁舍得杀死孩子们呢?然而……

看了这部电影之后，感受太多了！就谈其中的一点吧。总觉得是很有反战意义的，片头故意花了八分多钟的时间来讲述战争的施暴者带给无辜孩子的伤害，不是随随便便的。那么电影中其实是将现实中的两者倒了过来，导演巧妙的运用岛上孩子们对成人的种种暴行来比喻战争施暴者对孩子们的种种伤害，这其中就有许多的象征性。我们不难想象男女主人公在岛上的惊慌失措、处处求生、随时想着逃离就是战争中受害孩子们的生活常态，而岛上孩子们如魔鬼般的残杀活动就象征了残酷的施暴者。我认为这是将影片的前后呼应和节奏把握的最好的导演，致敬！

The question in the title of this Spanish horror made by Narciso Ibáñez Serrador (his second and final feature, who was relegated to the TV department thenceforth), is not so much “who can” as “who dare to” kill a child? Opening with harrowing reportage of children’s mortality during modern warfares, in hindsight, this tale of manic, homicidal children is dished up as a cynical retribution, for those numberless young lives gone too soon solely due to adult’s crimes and utter inanity (even Fellini courts sideswipe as a Fascist). From this perspective, it might sugar the pill of the film’s perversity.

Tom and Evelyn (Fiander and Ransome), an English couple comes to a small Spanish coastal island for vacation, where Tom has been several years ago. They are more than happy to escape from the jollification and ruckus in the mainland tourist town (fireworks, parades and piñatas), as Evelyn is pregnant with their third child. Upon arrival, weirdly, they find the village is practically deserted, no adults in sight, only kids, sprawled randomly over the place, some boisterous, some coy, but uniformly stiffing their gestures of communication.

What follows is the unthinkable violence exacted upon any adults who are still breathing, at the hands of the villages’ children. Without divulging any explication of the children’s abrupt, unnatural cruelty, the film dutifully if unremarkably grinds out threadbare set pieces counter to common sense (for instance, Tom, albeit witnessing horror in first hand, under the pretext of her gravid state, uncharacteristically keeps a lid on the 411 from Evelyn, who cannot understand a word of Spanish, so that they just stay put in lieu of scarpering on the spot), both also dreams up a sort of telepathic contagion that is chilling enough to jolt any woman who has a bun in the oven out of her philoprogenitive inclination. Ransome gives an excellence impression in the standard terrified mode, whereas Fiander’s Tom has to become a child murderer to ward off elements of children menacingly inching en masse.

Admittedly, the timing of WHO CAN KILL… also entices viewers to speculate its political connotation. released after Francisco Franco’s death in 1975, and with a new generation literally and indiscriminatingly slaughtering any member of the old one, spreading from their insular original to the continent, Serrador is smart enough to capture the zeitgeist and rouse the younger generation to feel a sense of justification and empowerment in themselves. No long a lamb of sacrifice, behave well, grown-ups, it only takes one night to transmute innocence into apathy with a sinister intent.

referential entries: James Watkins’ EDEN LAKE (2008, 7.5/10); Sam Peckinpah’s STRAY DOGS (1971, 7,6/10); Robin Hardy’s THE WICKER MAN (1973, 7.4/10).