A. 尝试重建而不是破解谜团,丁香六月伊人色夜夜春因此最终呈现的是“横看成岭侧成峰”的丰富形态。原片拷贝/幕后花絮/传记演绎三线交织,在结尾突破剪辑构成的障碍共生于银幕,丁香六月伊人色夜夜春是在有限信息下打通过去现在、戏里戏外等不同维度的共情体验:我们无法还原人一生所谓的“真相”,丁香六月伊人色夜夜春只能通过从外围不断靠近去“尝试”着还原它。通过承认影像的局限性,关锦鹏把它从对历史忠诚的负担里解放了出来。它打破了戏剧的结构,也恰恰因为这种背反,丁香六月伊人色夜夜春获得了触及“人生如戏”之真谛的自由。
冬末夏初:171.14.172.136
「Doesn't matter what's under a hood. The only thing that matters is who's behind the wheel.」「Necessary? Nothing is necessary. Everything is a choice.」「He's got this thing. It can see everything. It's called the Devil's Bum Hole or something. → It's called the God's Eye.」