忧郁症

        2011，“世界末日”前夕，拉斯•冯•提尔携强大的演员阵容，献上末世情怀隆重的《忧郁症》，搞的电影界一片争议，也有一片肯定，再到戛纳电影节，因为“亲纳粹”言论被逐出电影节，拉斯•冯•提尔的2011足够丰富难忘。当然，尽管他的言辞给自己带来麻烦，电影界还是对事不对片，整体而言，《忧郁症》在欧洲获得了很大肯定。我个人也对这片表示赞赏，解读提尔的电影向来麻烦，又向来简单，因为最导演个人的东西，也常常最可让我等观众去各自解读，何况这片从心理到外在，从个人到社会，从末世大事到日常生活，涵盖多种层面，可谓一个肆意汪洋扯淡的良好平台。

        总体而言，这部电影就是贾斯汀和克莱尔两姐妹的舞台，提尔的设计很巧妙，前半段以贾斯汀为中心，后半段以克莱尔为中心，而两人的表现又呈现截然不同的差异性，更妙的是两段故事又以末世临近前和临近时分开，社会的脆弱与分裂得以充分展现。在第一段故事中，贾斯汀表现出“非常态”，她是个忧郁症病人，在新婚来临之际，表现出异常的烦躁和不安，以至于把自己的上司、亲人到郎君得罪个遍。而克莱尔和参加婚宴的众人则表现出“常态”，难道新婚之夜不该是兴致勃勃，载歌载舞吗？克莱尔对妹妹的关心；克莱尔丈夫的成功人士形象；贾斯汀老板的世故商人表现；贾斯汀父亲的玩世不恭；贾斯汀母亲的婚姻悲观态度，这一切难道不是“常态”的人间百态吗？提尔这点很强大，在一场婚宴把整个社会的主要阶层人物典型都囊括进来，只有贾斯汀显得格格不入，而这一切为后面的反转式剧情埋下伏笔。

        贾斯汀真是“非常态”的吗？是孤独的吗？其实不然，与她一样“非常态”的是大自然，那些动荡不安的动物们，还有那渐进的神秘星球，说白了就是，这个世界已经非常态了，你们这些人还故作常态做什么？在大灾难来临之际，往往现代人类感知能力最弱，反倒是蝼蚁这样的生物有更早的感应。而身患忧郁症的贾斯汀，倒是免去了对世俗功名和所谓幸福的感知，更自然，更正常的与世间生灵一道感知到了危机的来临。而前一段表现“常态”的克莱尔夫妇则在第二段故事走向崩溃，克莱尔作为一个女人，比丈夫更直接的表现自己的不安，末日行星将来，世间已是众说纷纭，动荡不安，但是人们又往往强作笑颜，掩饰内心的慌张。那些非高等生物们，往往最先感知危险，又秩序井然的逃难，而对于即将到来的灾难，它们无助中又显得淡然，不会有更多挣扎和追求。但克莱尔们不同，感知的最少，知道的又最多（实际上是现代信息社会，让我们以为自己知道的很多），恐惧渐渐吞噬心灵，无力的哭泣和颤抖。而更接近世间普遍生灵的贾斯汀却淡定的面对死亡，她心理上病了，却超然于已经被末日折磨的大病的现代社会的恐惧反应。片中还有一个重要角色，就是克莱尔的丈夫，这是现代社会楷模式的典范，他们事业有成，生活富裕，世界往往由这个阶层的人士运转和操盘，而平日里他们也充满自信，认为自己掌控局势。于是，克莱尔丈夫的变化，正是这个社会支柱阶层崩溃的过程，他出钱操办婚礼，他极力维持失控的婚礼，他一面安慰妻子的恐惧，一面又准备可能灾祸降临的生活储备物资。然而，最终，当一切已成定局，最需要他顶住的时候，他选择以死亡逃避，我们无法说他懦弱，但是却可以看出，这个有序的社会是多么脆弱。

        作为Dogma95的起草人之一，拉斯•冯•提尔倒是练就了一身用简单设备和手法制造出色叙事和个性化镜头的好本领。所以，哪怕他开始有了变化，但是这种风格依然不变，倒是让他的镜头更加多样。在《忧郁症》中，从第一部分的不安的镜头，到第二部分冷峻风格的画面，都极好的烘托出影片的氛围和主题。特别在末日将来的那十几分钟，神奇的自然现象，贾斯汀冷静到底的安然，克莱尔绝望到底的歇斯底里，这一切让这个故事充满强烈的代入感，让人身临其境般的感受一种恐惧。而最后一幕，姐妹俩与克莱尔的儿子，在几个树棍搭起“山洞”中，等待末日的到来，这显得无形的“山洞”让人感到给心灵包裹坚强的外壳才是最好的自我保护。最后一刻，拉斯•冯•提尔献上了极具末日美感的镜头，那越来越近的火红的行星不再是末日的主题，而是背景，三个人影，充满殉难般的神圣感觉，美好转瞬即逝，这是命运，需要的只是不同心态的面对。

        《忧郁症》的出色还在于演员的集体发挥，克斯汀•邓斯特的表演在戛纳获得了肯定，拉斯•冯•提尔的片子向来要让女主角脱衣服，这次也不例外。然而，克斯汀•邓斯特在河边的一段全裸镜头，却充满安详宁静的美感和神圣，而克斯汀•邓斯特整部影片都很好的刻画着人物的细微神情。凭借《反基督者》，夏洛特•甘斯布已经拿过戛纳影后，本片的表演，她表现的更加立体，从开始的充满亲和力的姐姐，到不安的母亲和妻子，到最后，她已经是一个绝望的人类一员，她在尘雨中痛哭一幕极具爆发力，一个女人对生命的不舍，对无法保护儿子的绝望，被这个敏感的女演员演的动人极了，让人心疼极了。由于基弗•萨瑟兰拯救美国已经救的手软，所以他在片中出现，我还隐隐希望“小强”拯救地球。然而，这一次，他是一个中上层阶层的代表，他的成功依托于现代社会的秩序，当一颗行星到来，这个社会破碎了，他也就无处安放自己的位置。萨瑟兰将这个角色演的很典型，他的个人魅力也很突出，一个极力维持秩序的家长，一个令人依然尊敬的“失败者”和“逃兵”。

        2011已经过去，想想《忧郁症》带来的末世情怀，难免让人也忧郁那么片刻。然而，我们还是更多将2012的末世预言当做一个玩笑，一份谈资，一种调侃，一次商机。拉斯•冯•提尔看起来也“投机”了这个题材一把，不过，这只是抓住了一个合适的载体，表现的依然是他个性化，极端化，内省与批判的导演才华。

http://hi.baidu.com/doglovecat/blog/item/de2abb1134962a60cb80c418.html

我之前一直怕看这部片子来着。就因为我有个忧郁症老妈。
深夜我阴差阳错点开这部在硬盘里躺了两个月的电影。
料想到这种缓慢节奏的电影会被当文艺靶子射得体无完肤。比如“不懂欣赏这个真是太没水平了”，比如”以不懂欣赏这个为标杆真是太装逼了“这两种奇怪的相悖又相映成趣的影评。
但是我想说那些细节真的让我这个忧郁症患者家属感到除了平时当当影迷以外会有的别种人生共鸣。与怎么拍什么角度无关，我谈不来那个，我只谈谈我在无数个小情节小画面发生时脱口而出的。

<第一部分>
在人多的场合中镜头流转。摇镜很像进行中。还要是婚礼。还要是主角。我很怀疑为毛有这病的人的家属还有勇气给她办婚礼。但是即使是忧郁症病人，也偶尔可以hold住的吧。让我想起我家那些忌讳——不能去人多嘈杂的场合，不然她撑不了多久要panic。但是如果先打定招呼，像clair和她老公一样提前对其循循善诱，她们有时会behaviour得很好。很懂礼仪。很照顾人。
在众人已经很忙乱的时候justin会看星星看马儿，正如急着出门她反而不紧不慢地要搞搞别的东西，直叫你气得大吼她还是不紧不慢。在需要justin出现的时候她在泡澡，在打盹，在高尔夫球场，在不知道干嘛。这个，也很写实。你与她们的世界不在一个时空。
clair心领神会地拿过酒瓶，给justin灌的一幕，我想起她的酗酒。遇到心烦走投无路，她是真会这样拿着酒咕嘟咕嘟的。不管是洋酒还是白的。在justin站在两人高的二层发呆时，她等得不耐烦前来帮忙抛花。一个迅速的拨开那束美好的象征下一个有机会嫁的花。可怜的花如同可怜的数豆子礼品一样被因耗尽耐心而轻视。clair的心领神会手脚麻利，显示她处理这样的场面不是第一次，娴熟得甚至可以出一本《如何照顾忧郁患者技巧指南》。谁想要这样的技艺娴熟？于是她“有时我真的很恨你，justin”。我也说过这样的话。只不过连”有时“都去掉。
另一个习以为常的，就是那个把姐夫丢下的行李又兢兢业业捡回去的管家了吧。
会在有别人在的场合羞辱她真心看不惯的人。就像那个可怜却不无辜的老板。要羞辱一个大块头需要拳头么？说真话的人的拳头最重了。人情场面话都略过，她们像孩子一样说出皇帝的新衣是裸体，然后等后面的路人和大臣擦屁股收拾败局。
老公（准确说是前夫？未婚夫？）的温暖小照片，在justin手里存活时间不超过三分钟，旋即被遗落在沙发上。你作出努力却又被不置可否，有时她们就是会给你这般无情无意。不是无义。她们只是无意。
但是对小孩子却又保留了最真诚的喜欢。（也有例外，当他们的屎尿出现时，或者他们说脏话时。）
姐夫拿钱砸出来的婚礼，全家人就为了她”喜欢“。为搏忧郁患者一笑，得拿出点烽火台一样的财力和魄力来。但是即使好事做尽，她们还是会皱皱眉，不高兴。但下一次，姐夫还是会掏荷包给长途的士钱。就像我爸说，就当拿钱买开心。隔了一层的亲属，会用旁观的眼光来看“你们这个家庭”。unbelievable！这是姐夫的结论。他们会尽尽义务，但只是看在他们的爱人份上。
一个斩钉截铁保护自己还会锻炼身体的老妈。痛恨婚姻。来了婚礼又忍不住坑爹。被女儿寻求帮助却依旧满嘴堂皇，用硬梆梆的说教叫她回去。这个，我忍不住又因为“有相似情节”而笑了。忧郁患者的病因，的的确确和家庭、甚至早到童年有关。上一代不幸的婚姻，甚至可能留给他们的结晶一辈子的阴影。
一个玩儿勺子把戏的“无耻”老爹。“你能我帮狠狠删你老爹一耳光吗？”父母间的憎恶不应该直接对孩子表现吧，都别提是不是在婚礼上了。他们这样做的习以为常，却让justin对婚姻恐惧。她想获得的谈话，在她想认真对待也想被认真对待的时候，她老爹轻飘飘跑了。她的世界又一次微塌。
性爱部分我没现实世界搭配解读。但把老公弄high了再丢下一句goodbye，却又无厘头地fuck一个刚认识的小愣头青——于她们也并不奇怪吧。随心所欲的境界，正常人并不能到达。
发作的场面其实没有大书特书，这也是我怕看此片的原因。怕看到一个又一个外人看这种病人会有的“症状”。但是微小的表现，甚至她家人的表现，原来才是最一刀刺进来的。唯一可算“场面”的就是justin换书。还有下一部分中的鞭打马儿。前者是不可理喻的发泄行为，后者是有理由却过度，于他们都是有坚定解释的。你也甭管具体原因。因为懂了那样的内心世界你也就疯了。
最让我惊悚的一幕出现在她从房间出来，练习一下笑容可掬，又一瞬间回复那股恶狠狠的表情的时候。我觉得全剧在此刻最为戳到血。其他的故事情节，都是写实，都是描述，唯有这里的那种眼神，我见过无数遍。以至于那一刻，我以为dunst是我妈= =

<第二部分>
平常日子的生活，镜头却不再针对病人，而是家属。家属真的都会脾气暴躁吗？我不知道，反正我是。或者我曾是。也会在病人月蚀般的影响下有些执拗的害怕吗？我不知道，反正我也是。我一直盼望这一部直到最后是个温暖人心的好结局，却原来导演要给人们”忧郁对于忧郁者如同末日毁灭“这样的信息，还真生生把一颗蓝色星球给撞上来了。高速旋走又折返的”毁灭“，像生活给人的一次又一次的幻象。你以为今年祝酒词说了”会好的“，明年就真好了；你以为这段时间没什么事了，就代表以后都没什么事了。那全部都是以为忧郁星飞走了的短暂高兴。
我从来就没有扮演clair的“照顾”这一part角色。但我听朋友说过她母亲如何安顿像婴儿一样每两小时起夜却又拼老命不肯蹲下屙的老人痴呆症母亲。在justin光着身子就是不肯进澡盆的时候。做好的饭菜她不吃倒掉，倒厕所，或者顺手一点，倒地上；抑或盼着她状态好一点要下厨，又风云突变等到晚上7点半还是冷锅冷灶；甚至大年夜饭忽然又吃不成，这个，倒是一点也不出奇。
不肯给予姐姐安慰的justin，却肯蹲下来安慰孩子别害怕。
最终坐进一个虚构的没有实质作用的“魔法洞穴”里，就像我们总会做的一样，骗骗自己，寻得短暂的安全与安慰，迎来最后的灭亡。
但是关于这部分我却没什么好说。也许忧郁患者的忧郁都是相似的，忧郁患者的家属各有各的不幸。
闾丘露薇的《走读大中华》也讲过一次忧郁症，半小时浅尝辄止，呼吁人们来关心弱势群体，却不足够让人们不再有认为“忧郁患者的孩子也会有遗传的吧？”这样的concern，不足够让人们在席间不以某个奇怪的同辈作为谈资，不足够让影迷看完觉得入木三分而不是”这什么呀什么狗屁呀“因为他们又用不着入木。当然，已足够让被侵犯的无辜路人凭一句浅浅的解释便摆摆手原谅肇事者。
为什么借助这部来吐了那么多我一点都不愿回忆的槽。其实有点感谢它给我一个回顾的机会。人文关怀什么的，不是说笑。我想掀开新的一页，不想迎来最终的世界末日。不过，正常人不该也不需要看这部的，也不是说笑。
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Dunst来演这部我觉得很对头哇，那种隐忍的下一秒就要面具裂开这一秒还在放空的表情。要美能美要丑得吓人也能有。

Lars von Trier’s Melancholia (2011) stages an interesting reversal of this classic formula of an object-Thing (an asteroid, alien) that serves as the enabling obstacle to the creation of the couple. At the film’s end, the Thing (a planet on a collision course with Earth) does not withdraw, as in Super 8; it hits the Earth, destroying all life, and the film is about the different ways the main characters deal with the impending catastrophe (with responses ranging from suicide to cynical acceptance). The planet is thus the Thing-das Ding at its purest, as Heidegger would have it: the Real Thing which dissolves any symbolic frame – we see it, it is our death, we cannot do anything. The film begins with an introductory sequence, shot in slow motion, involving the main characters and images from space, which introduces the visual motifs. A shot from the vantage point of space shows a giant planet approaching Earth; the two planets collide. The film continues in two parts, each named for one of two sisters, Justine and Claire.

In part one, ‘Justine’, a young couple, Justine and Michael, are at their wedding reception at the mansion of Justine’s sister, Claire, and her husband, John. The lavish reception lasts from dusk to dawn with eating, drinking, dancing and the usual family conflicts (Justine’s bitter mother makes sarcastic and insulting remarks, ultimately resulting in John attempting to throw her off his property; Justine’s boss follows her around, begging her to write a piece of advertising copy for him). Justine drifts away from the party and becomes increasingly distant; she has sex with a stranger on the lawn, and, at the end of the party, Michael leaves her.

In part two, ‘Claire’, the ill, depressed Justine comes to stay with Claire and John and their son, Leo. Although Justine is unable to carry out normal everyday activities like taking a bath or even eating, she gets better over time. During her stay, Melancholia, a massive blue telluric planet that had been hidden behind the sun, becomes visible in the sky as it approaches Earth. John, who is an amateur astronomer, is excited about the planet, and looks forward to the ‘fly-by’ expected by scientists, who have assured the public that Earth and Melancholia will pass each other without colliding. But Claire is getting fearful and believes the end of the world is imminent. On the internet, she finds a site describing the movements of Melancholia around Earth as a ‘dance of death’, in which the apparent passage of Melancholia past Earth initiates a slingshot orbit that will bring the planets into collision soon after. On the night of the fly-by, it seems that Melancholia will not hit Earth; however, after the fly-by, background birdsong abruptly ceases, and the next day Claire realizes that Melancholia is circling back and will collide with Earth after all. John, who also discovers that the end is near, commits suicide through a pill overdose. Claire becomes increasingly agitated, while Justine remains unperturbed by the impending doom: calm and silent, she accepts the coming event, claiming that she knows that life does not exist elsewhere in the universe. She comforts Leo by making a protective ‘magic cave’, a symbolic shelter of wooden sticks, on the mansion’s lawn. Justine, Claire and Leo enter the shelter as the planet approaches. Claire continues to remain agitated and fearful, while Justine and Leo stay calm and hold hands. The three are instantly incinerated as the collision occurs and destroys Earth.

This narrative is interspersed with numerous ingenious details. To calm Claire, John tells her to look at Melancholia through a circle of wire which just encompasses its circular shape in the sky, thus enframing it, and to repeat this 10 minutes later so she will see that the shape has become smaller, leaving gaps within the frame – a proof that Melancholia is moving away from the Earth. She does this, and grows jubilant when she sees a smaller shape. However, when she looks at Melancholia through the frame some hours later, she is terrified to see that the shape of the planet has now expanded well beyond the frame of the wire circle. This circle is the circle of fantasy enframing reality, and the shock arrives when the Thing breaks through and spills over into reality. There are also wonderful details of the disturbances that happen in nature as Melancholia approaches the Earth: insects, worms, roaches and other repellent forms of life usually hidden beneath the green grass come to the surface, rendering visible the dis-gusting crawling of life beneath the idyllic surface – the Real invading reality, ruining its image. (This is similar to David Lynch’s Blue Velvet, in which, in a famous shot after the father’s heart attack, the camera moves extremely close to the grass surface and then penetrates it, rendering visible the crawling of micro-life, the repelling Real beneath the idyllic suburban surface.)

The idea for Melancholia originated in a therapy session von Trier attended during treatment for depression: the psychiatrist told him that depressive people tend to act more calmly than others under extreme pressure or the threat of catastrophe – they already expect bad things to happen. This fact offers yet another example of the split between reality – the social universe of established customs and opinions in which we dwell – and the traumatic, meaningless brutality of the Real: in the film, John is a ‘realist’, fully immersed in ordinary reality, so when the co-ordinates of this reality dissolve, his entire world breaks down; Claire is an hysteric who starts to question everything in a panic, but nonetheless avoids complete psychotic breakdown; and the depressed Justine goes on as usual because she is already living in a melancholic withdrawal from reality.

The film deploys four subjective attitudes to-wards this ultimate Event (the planet-Thing hitting the Earth) as Lacan would understand them. John, the husband, is the embodiment of university knowledge, which falls apart in its en-counter with the Real; Leo, the son, is the cherubinic object-cause of desire for the other three; Claire is the hysterical woman, the only full subject in the film (insofar as subjectivity means doubts, questioning, inconsistency); and this, surprisingly, leaves to Justine the position of a Master, the one who stabilizes a situation of panic and chaos by introducing a new Master-Signifier, which brings order into a confused situation, conferring on it the stability of meaning. Her Master-Signifier is the ‘magic cave’ that she builds to establish a protected space when the Thing approaches. One should be very careful here: Justine is not a protective Master who offers a beautiful lie – in other words, she is not the Roberto Benigni character in Life Is Beautiful. What she provides is a symbolic fiction which, of course, has no magic efficacy, but which works at its proper level of preventing panic. Justine’s point is not to blind us from the impending catastrophe: the ‘magic cave’ enables us to joyously accept the End. There is nothing morbid in it; such an acceptance is, on the contrary, the necessary background of concrete social engagement.

Justine is thus the only one who is able to propose an appropriate answer to the impending catastrophe, and to the total obliteration of every symbolic frame.

……………………..

Alan Weisman’s book The World Without Us, a vision of what would have happened if humanity (and only humanity) were suddenly to disappear from the earth – natural diversity blooming again, nature gradually overgrowing human arte-facts. In imagining the world without us, we, humans, are reduced to a pure disembodied gaze observing our own absence, and, as Lacan pointed out, this is the fundamental subjective position of fantasy: to observe the world in the condition of the subject’s non-existence (the fantasy of witnessing the act of one’s own conception, the parental copulation, or of witnessing one’s own burial, like Tom Sawyer and Huck Finn). The World Without Us is thus fantasy at its purest: witnessing the Earth itself retaining its pre-castrated state of innocence, before we hu-mans spoiled it with our hubris. So while The Tree of Life escapes into a similar cosmic fantasy of a world without us, Melancholia does not do the same. It does not imagine the end of the world in order to escape from family deadlock: Justine really is melancholic, deprived of the fantasmatic gaze. That is to say, melancholy is, at its most radical, not the failure of the work of mourning, the persisting attachment to the lost object, but their very opposite: ‘melancholy offers the paradox of an intention to mourn that precedes and anticipates the loss of the object’.

Therein resides the melancholic’s stratagem: the only way to possess an object that we never had, which was from the very outset lost, is to treat an object that we still fully possess as if this object is already lost. This is what provides a unique flavour to a melancholic love relationship, such as the one between Newland and Countess Olenska in Wharton’s The Age of Innocence: although the partners are still together, immensely in love, enjoying each other’s presence, the shadow of the future separation already colours their relationship, so that they perceive their current pleasures under the aegis of the catastrophe (separation) to come. In this precise sense, melancholy effectively is the beginning of philosophy – and, in this precise sense, Justine from Melancholia is not melancholic: her loss is the absolute loss, the end of the world, and what Justine mourns in advance is this absolute loss – she is literally living in the end time. When catastrophe was just a threat of catastrophe, she was merely a depressed melancholic; once the threat is here, she finds herself in her element.

And here we reach the limit of event as re-framing: in Melancholia, the event is no longer a mere change of frame, it is the destruction of frame as such, i.e., the disappearance of humanity, the material support of every frame. But is such a total destruction the only way to acquire a distance from the frame that regulates our access to reality? The psychoanalytic name for this frame is fantasy, so the question can also be put in the terms of fantasy: can we acquire a distance towards our fundamental fantasy, or, as Lacan put it, can we traverse our fantasy?


Zizek, S. (2014) Event: Philosophy in Transit. London: Penguin Books Ltd.

看影片前半段的时候就感觉到伯格曼扑面而来：一片绿地中的庄园，空旷大房子里冷漠的人情——姐妹之间，尤其是母女之间，以及，所有角色都像在给杂志拍照，静止，沉默，斜视45度，作

此时导演还没甩包袱，俺也沉浸在一知半解的快感中，直到末日和死亡的暗示越来越重，Justine说“世界充满邪恶，无人会留恋，地球是宇宙中唯一的生命载体。”这片就完全进入到伯格曼的语境，同时俺也知道，它很难引起观众情感上的共鸣，因为它违反了“神的第一定律”

所谓“神的第一定律”，当然建立在神客观存在，而且全能至善的假设。具体内容为：“不承认神或对神无意识的人一样可享神的恩赐。”

这条定律是必要的——假设有神而他就在你的面前，你如何确定呢——查看身份证，或让他拔出石头里的宝剑？

一个靠谱的神能预料到人的无知——对身份和生存意义的无知，而不是强调”不信就整你“，如同多数宗教的十不准上写的那样

理论上，理性上，逻辑上，一个无知的人就该像伯格曼或伍迪·艾伦，当他们意识到“生命的出现源自偶然，肉体的死亡即是尽头”的可能性，就会得出“生活无意义”的结论，类似于Justine，永远开心不起来

理论上，理性上，逻辑上，你无法在那样的前提下还让人相信“生活是值得为之奋斗的”，但在现实中，这些鬼扯淡的命中率极高，催尿励志无所不能。这是因为神为了实现第一定律而给人类打了“死亡防治疫苗”，于是在默认的无神论者泛滥的中国，也少见没病没灾就被死亡吓破胆的人

结果是，《第七封印》或《星尘往事》之类唬人的作品往往适得其反，没有人看完后会大喊：“给我跟上吊的绳儿。‘而是：”这他妈的太吊了。“（当然更多的还是表现为”我要去睡觉“）

俺捏着鼻子看圣经的短暂日子里，也有那么一两个晚上被死亡吓得屁滚尿流，就跟《怎样都行》里大喊”horror “的拉里·大卫一样，不过总体上还是吃嘛嘛香

总之，人们天生注意不到死亡的主题，天生不会承认生命的虚无（承认这个的基本都是为了勾引文艺女青年）

《忧郁症》也一样，里头搞得小行星撞击，还有女主角那个悲观厌世影响不到任何人——拉斯·冯·提尔是个连戛纳都敢驱逐的可爱而猥琐的胖子，凭什么与神的定律叫板呢

以上内容，不完全地解释了该片低分的原因~

当然，仅因为主题，俺就可以把它和《生命之树》选为最爱之一

除此之外，这片里真正有趣的是人对死亡的反应，Claire知道2012要到了，就带着孩子去Village，The Village有啥？奈特·希亚马兰吗（俺喜欢这个冷笑话），不还是一样死。但可以理解，要是我，也想找个人多的地儿，您想象一下——跟很多人一起等死舒坦，还是在无人小岛上等死舒坦

如果答案是肯定的，说明你也不是理性的动物，如果所有人都那么感性——我觉得，这来自超自然力量的人为设计的可能，要比只是偶然”进化“的可能性大得多

所以在内心深处我一直相信神的存在——不是”中国人需要信仰“那一类的比喻暗喻隐喻，神必须跟隔壁二大爷一样鲜活生动。当然，个人信仰从来不重要，因为答案在过去已经发生

也就是说，神已经存在了，哪怕你不承认



或者不存在，那可就倒血霉了

我喜欢这种女主角

以为你只有脸蛋吧

人家可以只对着脸拍三十分钟你也从中读得懂剧情

以为你只有演技吧

人家也可以只对着胸拍三十分钟你也得老实承认各种角度具美

老实说

我没看出justin一开始就是抑郁症

在我们的四处周围，成长履历

这样的

怂爸恶妈

变脸王老板，

自以为是菜鸟，

神经病文艺女青年（还是广告女青年，太tmd的exactly了！！！）

恐婚，

家庭不和，

在这个社会，也太正常了吧？

请导演可以落力将“不正常”再“不正常”一点让“正常”的我们知道“不正常”吧？
----------------------------------------------------------------------

所以正常的人

已经小强到只会到地球毁灭才崩溃

而抑郁症会因为

与其他人不一样，

敢于说出真相，

或者拥有让人嫉妒的才华却不乖乖听话等

奔溃？

得出这样的结论让我失落不已

看片之前

我觉得自己开始抑郁

并企图通过看片完成深恶痛疾抑郁，达成摆脱抑郁的结果

但当我看到

影片全程

抑郁者

其实

平静喜悦，

忠于自我

身与心可坦白于天地之间

而“正常人”却恐惧不堪

逃避生命与责任




反正现在忠于自我如此困难，而地球毁灭如此简单

还不如用抑郁症拯救自己？