剧情介绍
在这部电影中，本宁继续通过两个杀人犯的故事来审视美国文化。埃德·盖恩(Ed Gein)是威斯康星州的一名农民，他在20世纪50年代曾多次谋杀受害者。伯纳黛特·普罗蒂(Bernadette Protti)是一名加州青少年，1984年，她因朋友的侮辱行为捅死了朋友。
In "Landscape Suicide" Benning continues his examination of Americana through the stories of two murderers. Ed Gein was a Wisconsin farmer and multiple murderer who taxidermied his victims in the 1950s. Bernadette Prott was a California teenager who stabbed a friend to death over an insult in 1984. Benning's distanced approach to such grisly material is as far removed as possible from sensationalism, however. Although the acts of murder are both bizarre and violent, Benning dwells on them only minimally, emphasizing instead the details of psychological motivation, which in both cases seem frighteningly mundane. Benning has created a script which is a masterpiece of understated colloquial writing, and the actors he employs to re-enact confessional testimony and incidents recounted in trial transcripts perform with a flatly convincing lack of affect reminiscent of Gary Gilmore. The two monologues are embedded in Benning's characteristic meditations of landscape: long shots of the Wisconsin farmlands, general stores, dirt roads and pick-up trucks, and the carefully tended lawns, swimming pools, sprawling bungalows and malls of the middle-class California suburb. These images are offered in the classically spare mise-en-scene which Benning has perfected in his work as a cinematic poet of the contemporary American environment. Here, in his most accessible film so far, the beautiful, open vistas are dense with the significance of the catastrophes they engendered
跳接是一个接续亦或是另一个时空：无与伦比的实虚，记录与剧情的混乱。一段哀舞，与静态风景与文字拼接出的时空。伟大已无需多言。
静态自杀，动态摄影，逗点般切断，用文字和声音串联，想起了阿巴斯
高分辨率锐化也成为了镜头语言的一部分
电影论文
冰冷，是看完的电影直观感受。影片中的固定镜头就像是来自死亡的凝视，对这个“生机勃勃”的世界投以没有温度的目光。
人们并不关心每场谋杀背后发生了什么我们只想知道谁是凶手谁是死者就像没人会在意网球手每次击球的细微变化我们只看到了球场上遍布网球
4.5
7.2/10分 感谢海啸能让我看到这部实验影片。1.这真的是一部纯PPT电影，看着像纪录片又不是，都是演员。两起杀人案，透视美国社会，所谓以局部写整体。从夏天绿色的富庶的加州到冬天白色荒凉的威斯康星。2.开头四分钟的网球镜头是本片的题眼，只呈现动作的起点与终点，不呈现过程。无数黑屏制造间离效果避免观众凝视带入情感，重塑影像语言，将影像意义从呈现过渡到诉说，也是走极简主义那条路。大段的审问镜头以及事发现场的空镜头，全让观众脑补发生在此地的罪恶，相当克制，让人想起哈内克，想起《大象》。3.两次《圣经》念白，受害者打电话以及舞蹈的镜头，以及结尾的猎鹿镜头说明导演还是在影片中注入了情感的，略破功，呈现方式略呆板。
比想象中要好，但是也没有太过特别的地方，有点像纪录片、谈话录之类的。但对于杀人事件来说这种拍摄方式之前没怎么见过。
开头的反打镜头，拉满了期待！
总是黑一下屏讨厌死了
审讯时十分冷静，在美国西部的小镇上
通过几段概述，不断地切静止或运动的空镜头来让观众自己连接、想象、拼贴、感受出故事，在那些空境中，仿佛过去的魂灵驻足在此，主体的不在场性又充满了对时空的错觉。
通过个体案件渗透到环境和声音中去映射美国社会的一些无意识病理性特征
精准传达 痛了