剧情介绍
以导演崔维斯威克尔森的家族秘辛出发,探索1946年祖父枪杀非裔美国人的真相,同时叩问集体失忆的国家历史,再创转型正义议题的另一经典之作。
从外曾祖父枪杀黑人的故事开始,导演踏上回访70年前凶案与家丑的公路之旅。然而资料佚失、相关人士记忆拼凑扑朔迷离,奔波在大城小镇之间,遭遇重重困难与疑云,恰巧勾勒出美国数十年来黑权运动的未竟之业。影片节奏与视觉风格鲜明,佐以黑权运动著名歌曲声声重磅质问,为这些历史无名者刻下姓名。 A documentary murder mystery about the filmmaker's family, set in lower Alabama, 18 miles north of the Florida state line. On an October night in 1946, S.E. Branch twice shot a man named Bill Spann in the small neighborhood market that Branch owned. Two days later, Spann died in a segregated black hospital. Branch was white-a Klansman-and Spann was black. Branch claimed self-defense, but despite that claim and the political climate in Dothan, Alabama in 1946, Branch was charged with first-degree murder. S.E. Branch was the artist's great granddaddy, on his mother's side. Everyone says they looked alike. That this story echoes across decades and generations says much about the distance travelled by U.S. society since 1946.
从外曾祖父枪杀黑人的故事开始,导演踏上回访70年前凶案与家丑的公路之旅。然而资料佚失、相关人士记忆拼凑扑朔迷离,奔波在大城小镇之间,遭遇重重困难与疑云,恰巧勾勒出美国数十年来黑权运动的未竟之业。影片节奏与视觉风格鲜明,佐以黑权运动著名歌曲声声重磅质问,为这些历史无名者刻下姓名。 A documentary murder mystery about the filmmaker's family, set in lower Alabama, 18 miles north of the Florida state line. On an October night in 1946, S.E. Branch twice shot a man named Bill Spann in the small neighborhood market that Branch owned. Two days later, Spann died in a segregated black hospital. Branch was white-a Klansman-and Spann was black. Branch claimed self-defense, but despite that claim and the political climate in Dothan, Alabama in 1946, Branch was charged with first-degree murder. S.E. Branch was the artist's great granddaddy, on his mother's side. Everyone says they looked alike. That this story echoes across decades and generations says much about the distance travelled by U.S. society since 1946.
对素材的运用有种特殊的气质,会让人不知不觉的进入导演描绘的故事中去。我很喜欢essay film的结构,我像是跟着导演完成一次探索。
影像非常漂亮 除此之外无 选择几十年前的杀戮案件为题材的关键问题就是材料的缺失 这种漫长的空镜头叠加再加上导演低音炮 真的只想睡觉。。
📍11/29/19
当旁白开始自述拍摄过程和感受时,这便注定是一部个人的、注入情感和观点的纪录片。娓娓画外音与黑白空镜头的并置同时构建了在场感和对照的张力。导演最终寻找到的信息相比未解决的疑问而言过于稀零,但寻找的过程已经足以表达要旨(过去和现在有多少区别呢?)。这种历史与现实的交叠在形式和内容上复现,加强了影片的力量。4.5/5
虽说有段落做的非常有震撼效果,但整体还是特别疲乏,何况整个主题探索到最后变成个笑话,真的是笑话。
影像还是可以的
伪装成 thriller 的美国 essay film. 虽然这个题材看得太多,但导演后部分充满自反的自述还是有让人眼前一亮。从家族史入手讲大历史也还行,只不过挖得越多越“不可”挖,关键材料全部缺失,我这么skeptical 且善于脑补的人都觉得光靠导演那把低音炮还是不够(特别是这届电影节不乏那些冒着生命危险探入禁区的影像工作者)。
Pretentious, self-righteous, unwatchable white-guilt
为啥同样是说南方口音马修叔就能说的那么苏这些深蓝白垃圾说的就这么有攻击性这么恐怖呢。文案相当振聋发聩,风格也很亮眼。就是文本还是有点简单。(3.5)
3.5
3.5,视听只静态发力,电影整体的展开仍然依托于内容。而(作者自得其乐的)内容又无法真正形成调动,因此对于不能老老实实听故事的观众如我,观看起来始终是局部大于整体的作品。但还是很好看...
向來很欣賞Travis書寫映像的能力,聲、樂、景巧妙地融和到一塊。他的這部新作顯示出強烈的“公私不分”的感覺,即在追尋家族支離破碎的事件的同時又摻和到公共的大的歷史之中去。它們之間糾纏不清,卻又相輔相成。Travis對動態、靜態的地景素材運用都非常熟練。唯獨是整片對非美國人或對美國現代種族史熟悉的人來說不大好代入。
那些过于直白和缺少内容的部分都被画面上不少非常厉害的处理以及一些灵光闪现的段落(特别结尾最后那段)给强力弥补了 7.4分★★★☆
家族史與大歷史的回溯與翻案,不現身的Michael Moore般主觀引導與犀利幽默(《梅岡城故事》的互文很有力!),配Akerman在South(1999)的漫長公路流動地景。家庭電影素材。收尾的被跟蹤狀態,那極陰沈的血色天空,根本《七夜怪談》收尾啊。XD 某些音畫與字卡關係,想起Tongues Untied(1989)。
從死亡的差異、家族的傳續來討論種族歧視,角度並非唯一卻也相當特別。以私人影像日記的形式寫一部當代美國的種族史,畫面適切且音樂選擇恰當,讓人享受。故事裡夾雜的鬼魅氛圍與懸疑因素則一步步刺進我心,本以為故事在解答片名問題後已經結束,卻在最後來了那兩句話,直接雞皮疙瘩滿身,相當痛快。