摇摆于纪录片和真实电影之中retraces a journey from the end of summer to deepest winter, from East Germany, across Poland and the Baltics, to Moscow. It is a voyage Chantal Akerman wanted to make shortly after the collapse of the Soviet bloc, “before it was too late,” reconstructing her impressions in the manner of a documentary on the border of fiction. By filming “everything that touched me,” Akerman sifts through and fixes upon sounds and images as she follows the thread of this subjective crossing. Unfolding without dialogue or commentary, FROM THE EAST takes the form of a cinematic elegy.
电影内核带有极强的人道主义精神 最后的老人也似乎象征着社会中慢慢逝去的东西 他递给小男孩一只小花 虽然他们走向错误的人家 但他也陪着小孩儿走过了犬吠的黑暗 而小男孩藏起了作业本的做法也体现了他的纯真与美好 电影是从小孩子的视角叙事 从旁人的言语间看教育 社会 信仰 等一些列的问题 尤其是教育体制及教育方式 镜头方面则为极简 小男孩第一次出村的大远景长镜头就仿佛告诉你这是一场一个人漫长的找寻之旅 头尾的迟到也都互相呼应 配乐使用伊朗民族乐器都塔尔搭配通巴克鼓 带有极强的宗教感 “he heard that iron doors last a lifetime. How they calculate a lifetime I don't know.” 【写的超细的开小黄车长篇】