在第83届威尼斯国际电影节的首期对谈节目，当然要献给今年在威尼斯首部获得奖项表彰的中国电影《发现之旅》。两项大奖，其中国际影评人周单元授予的最佳创新影片奖便是对影片新颖表达手法实至名归的表彰，意大利独立影评人奖的最佳剧情首作奖，则是说明这种创新形式和情感内核同时俘获了本土影评人尖锐而挑剔的眼光。 能拍出这样的作品，不难想象导演董劼也是一位妙人。他正在中国院线里开拓着一条未曾有人尝试过的道路，而跟他聊天我最大的感受是，他对每个细节都有清晰的设想和掌控。为了拍这部电影，董劼花费大把精力，特意开发了一款名为《未来迁徙》的游戏，呼应着他在大学期间出版的诗集《迁徙的间隙》。在正式开拍之前，董劼交给男主角孙阳一部手机，里面有角色“石子安”的微信账号，有他朋友的联络方式，甚至有外卖软件和视频网站的浏览记录。于是，这部手机就不再只是道具，而是演员进入这个亦真亦幻世界的钥匙。 跟孙阳第一次见面的时候，他们聊了很久，从好整以暇地坐在沙发上一路聊到席地而坐。董劼清楚地记得孙阳在谈到“石子安”的某些心路历程的时候，眼眶是泛红的，这让他更坚定了自己的选择。一位演员能同时兼备理性的认知和感性的冲动，这是董劼一直在追逐的特质，他在孙阳身上看到了。在那之后，孙阳提出的许多方法都成为帮助影片气质更为落地的基石。 赵天爱饰演的歪歪总有一层神秘面纱笼罩，她代表着当代年轻人情感生活中难以把握的部分。我们也聊到片中赵天爱与孙阳的一段亲密戏份，两位演员那天的拍摄出乎意料地顺利。赵天爱的一句临场发挥，促使孙阳也给出了一个很有意思的即兴反应。相信我，这段激情戏跟大家之前见到的都不同。 这期节目或许是《发现之旅》主创首度分享创作细节的相关内容，希望能给好奇的影迷带来发现的乐趣，更希望国内的观众能尽快在国内的影展和院线看到它。 0:58“最佳创新奖”的灵感来源 4:17从最开始就跳出现有的国产片框架以外 4:52对引擎电影的致敬 7:01和《宇宙探索编剧部》奇妙联动的绿衣人 8:49为拍《发现之旅》，开发了一款《未来迁徙》的游戏，真能玩 12:53男主角孙阳的游戏体验如何 13:54坚定选择孙阳出演的原因 18:58孙阳与赵天爱那场虚实难辨的激情戏 25:00现代人际交往的神秘与脆弱 27:27对于游戏等媒介的复杂态度决定了创作的深度 29:30未来国内院线和影展的可能性 SHOWNOTES IN ENGLISH: The first episode of the talk show at the 83rd Venice International Film Festival is, of course, dedicated to Zoom In, Zoom Out, the first Chinese film to win an award at Venice this year. The film won two awards: the Best Innovative Film Award from the International Critics’ Week section—a well-deserved recognition of its novel narrative techniques—and the Best Debut Feature Award from the Italian Independent Film Critics’ Awards, demonstrating that this innovative form and emotional core have simultaneously captured the keen and discerning eyes of local critics. Given that he was able to create such a work, it’s not hard to imagine that director Dong Jie is a remarkable individual. He is blazing a trail in Chinese cinemas that no one has ever attempted before, and my strongest impression from speaking with him is that he has a clear vision and firm control over every detail. To make this film, Dong Jie devoted a great deal of effort to developing a game called Future Migration, which echoes his poetry collection The Gap in Migration, published during his college years. Before filming officially began, Dong Jie gave the lead actor, Sunny Sun, a cell phone containing the WeChat account of the character “Shi Zi’an,” contact information for his friends, and even browsing history from food delivery apps and video streaming sites. As a result, this phone became more than just a prop—it served as the key for the actor to enter this world that blurs the lines between reality and fantasy. When Dong Jie first met Sunny Sun, they talked for a long time, starting with a leisurely conversation while sitting on the sofa and eventually ending up sitting cross-legged on the floor. Dong Jie clearly remembers that Sunny Sun’s eyes welled up with tears when discussing certain aspects of “Shi Zi’an’s” emotional journey, which further solidified his decision. The ability of an actor to possess both rational insight and emotional intensity—a quality Dong Jie had always sought—was something he saw in Sunny Sun. After that, many of the approaches Sunny Sun proposed became the cornerstone for grounding the film’s atmosphere. The character of Waiwai, played by Zhao Tian’ai, is always shrouded in a veil of mystery; she represents the elusive aspects of contemporary young people’s emotional lives. We also discussed an intimate scene between Zhao Tian’ai and Sunny Sun in the film—the shoot that day went surprisingly smoothly. An ad-lib by Zhao Tian’ai prompted Sunny Sun to deliver a very interesting improvised response. Believe me, this passionate scene is unlike anything you’ve seen before. This episode may be the first time the creative team behind Zoom In, Zoom Out has shared such details about the film’s creation. We hope it brings the joy of discovery to curious film fans, and we especially hope that Chinese audiences will be able to see it soon at domestic film festivals and in theaters. 0:58 The Inspiration Behind the “Best Innovation Award” 4:17 Breaking Free from the Conventions of Domestic Films from the Very Beginning 4:52 A Tribute to Machinima 7:01 The Green-Clothed Man and His Wonderful Crossover with Journey to the West 8:49 A Playable Game Called Future Migration Was Developed for the film 12:53 How was the gaming experience for lead actor Sunny Sun? 13:54 The reason behind the firm decision to cast Sunny Sun 18:58 The passionate scene between Sunny Sun and Zhao Tian’ai—where reality and fiction blur 25:00 The mystery and fragility of modern interpersonal relationships 27:27 A complex attitude toward media such as games determines the depth of the creative work 29:30 Future possibilities for domestic theaters and film festivals

大家久等，竭尽全力在《可能的爱情》官方首映场结束后马上献上这期影评节目。对于《可能的爱情》，我的评价尚还在《燃烧》之上，或者说直到看到这部片，我对李沧东的敬佩才彻底五体投地。大师就是只要一出手，同类型有所相通的《无可奈何》和《寄生虫》仿佛都降了一档，显得不再那么耀眼。 中文译名《可能的爱情》有点太片面了，因为片中所涵盖的范围之广远非一场婚外恋可以概括的。更合适本片的名字应该是《可能的爱》，它在影片里出现最早的地方，是在赵寅成饰演的高富帅与赵汝贞饰演的纪录片导演妻子的对话当中。“我可是会用爱意包围我的拍摄对象的”，赵汝贞这样说着，由此引发了对一系列关系的讨论，富人对穷人、资本对工人、权力机构对一个默默付出半生心血的勤恳公民，他们之间的爱究竟是可能的吗？ 全度妍饰演的美玉突出了角色的美感，不光来自于红润的面色，更来自于她从尘埃里开花的生命力，她那么爱护自己的丈夫，又并非一味地服从。她或许望向过一个理想情人所带来的美好，但清醒时分，她用全裸的赤诚表现，完成了最为狡黠而有力的反击。薛景求饰演的浩锡，他的眼中贮藏着化不开的悲伤，国家、战友、同伴一一背叛了他，这让他变得沉默寡言，也铸就了剃刀般锋锐的目光，薛景求出色地塑造了一个满身伤痕的中年男人，善良的底线让他从不逾矩，却也有着坚决的抵抗。赵寅成“尚宇”这个角色同样寡言少语，但他总带着一种上位者的随性与轻浮，他的表演成功撕开了人物和善的伪装，显露出一种猎手捕食般的贪婪欲望。 势大力沉，振聋发聩，雕刻时光，在呢喃的年代，他的诗意润物无声，在呐喊的年代，他的出鞘锋芒毕露，这才是当之无愧的大师之象。 0:49开胃菜 2:45《尼尔森先生，你杀人了吗？》的不适与沉浸 11:05主菜 11:41《可能的爱情》在李沧东电影中的序列 17:09现有片名不够准确 19:49从《可能的爱情》展开，大师之作都有什么共同特质？ 18:02起手式：势大力沉 19:15纪录片导演艺智对于裁员员工家属美玉一家人的渗透 22:56大处着眼：振聋发聩 23:24失业与阶级矛盾，东亚社会两大问题展露无余 31:52小处着眼：雕刻时光 43:32四大主演各自的表现 50:30李沧东的自我突破 55:06本片可当作韩国十年内的时间切片 55:58甜点 SHOWNOTES IN ENGLISH: Sorry to keep you waiting—I’ve done our best to bring you this episode of our film review show right after the official premiere of Possible Love. As for Possible Love, I rate it even higher than Burning—or rather, it wasn’t until I saw this film that my admiration for Lee Chang-dong truly reached the point of utter awe. A true master—whenever he creates something, films in the same genre, such as No other choice and Parasite, seem to pale in comparison and lose some of their luster. The Chinese title Possible Love is a bit too narrow, as the film’s scope far exceeds that of a mere extramarital affair. A more fitting title would be Possible Loves, a phrase that first appears in a conversation between the wealthy, handsome man played by Zo In-sung and the documentary director’s wife, played by Cho Yeo-jeong. “I surround my subjects with love,” says Jo Yeo-jeong, sparking a discussion about a series of relationships: between the rich and the poor, between capital and labor, and between institutions of power and a diligent citizen who has quietly devoted half life to his work. Is love truly possible between them? Jeon Do-yeon’s portrayal of Mi-ok highlights the character’s beauty, which stems not only from her rosy complexion but also from her vitality—like a flower blooming from the dust. She cherishes her husband deeply yet is far from blindly obedient. She may have once yearned for the beauty an ideal lover could bring, but in her moments of clarity, she delivers the most cunning and powerful counterattack through her unadulterated sincerity. Ho-seok, played by Sul Kyung-gu, harbors an indelible sadness in his eyes. Betrayed one by one by his country, comrades, and companions, he has become taciturn, yet his gaze remains razor-sharp. Sul Kyung-gu masterfully portrays a middle-aged man scarred by life; his innate kindness ensures he never crosses the line, yet he offers resolute resistance. Zo In-sung’s character “Sang-woo” is equally taciturn, yet he always carries the nonchalance and frivolity of a man in power. His performance successfully strips away the character’s facade of kindness, revealing a predatory greed akin to that of a hunter. Powerful and resonant, deafening and stirring, carving through time—in an era of whispers, his poetry nourishes silently; in an era of shouts, his blade is drawn and its sharpness fully revealed. This is the true image of a master, without a doubt. 2:45 The Discomfort and Immersion of Mr. Nielsen, Did You Kill People? 11:05 Main Course 11:41 Possible Love in the Context of Lee Chang-dong’s Filmography 17:09 The Current Title Is Inaccurate 19:49 Starting with Possible Love: What Common Traits Do Masterpieces Share? 18:02 Opening Move: Powerful and Impactful 19:15 Documentary Director Ye-ji’s Intimate Portrayal of Mi-ok’s Family, Relatives of a Laid-Off Worker 22:56 The Big Picture: A Wake-Up Call 23:24 Unemployment and class conflict—two major issues in East Asian society laid bare 31:52 Focusing on the Details: Carving Out Time 43:32 The Performances of the Four Lead Actors 50:30 Lee Chang-dong’s Personal Breakthrough 55:06 This Film Can Be Seen as a Snapshot of South Korea Over the Past Decade 55:58 Dessert

第83届威尼斯国际电影节开幕三天时间，本期节目就来聊聊今年在水城看到的第一部中国电影，由孙阳、赵天爱主演，董劼执导的《发现之旅》，入围国际影评人周竞赛单元。 在国产长片维度里，《发现之旅》在混融游戏数码与真实影像过程中所做出的精细视听，是我目前为止观影生涯仅见的一部。身为男主人公的游戏工程师石子安，或许创造出过许多美妙的数字宇宙，但对身边朝夕相处的室友却知之甚少。在一场离别与意外的裹挟之下，石子安踏上了找寻室友的惊奇之旅，不仅在游戏世界里了解室友一生的故事，更在现实层面解开又种下羁绊。我喜欢《发现之旅》很重要的原因，就是它让我看到了《宇宙探索编辑部》曾经带给我过的那种，与现代青年背向的情感价值观，从冷漠到温暖，丝丝入扣。 孙阳这次的造型又是寸头，相比起过往《过春天》《孤注一掷》里那些令观众过目不忘的角色，“石子安”是线条更淡的，更难把握的，在他当下的这个演艺阶段，是一个非常新鲜的挑战。简单分析了下孙阳这次的表演过程中所突破的重要任务，有些很特别的东西，也是我认为他在同年龄段比任何人都契合“石子安”的条件。在艺术表达的旅途中，收放自如比大开大合要来得更加宝贵，纸上雕花也比鬼斧神工要更为难得。在商业片领域被观众熟识之后，还能解锁这样一个可能方向，替孙阳感到高兴。 1:03开胃菜 1:31一部跟《发现之旅》完全无关的短片成了它的映前“贴片”，好有趣的策展思路 6:11主菜 6:28主人公石子安的人物肖像 10:22海量精致的视听设计 15:15情感表达清晰，细微而奏效 16:06联想到《宇宙探索编辑部》的中二浪漫 19:09孙阳这次的角色塑造，由淡转浓 21:20孙阳与“石子安”的灵魂契合 24:14甜点 24:52《野马九号》？《尼尔森先生》？还是其他

第38届百花奖颁奖典礼已于8月10日晚落下帷幕，对于最终的颁奖结果，咱们无论是讽刺批评还是惊喜感动，有个客观现实不可否认，那就是内娱确实很久没有这样全民参与讨论的一场盛会了。本期节目我就分享分享自己接连三天参加百花奖各项活动的体验，从梁家辉的泪水、王彦桐的走心开始，到提名者表彰仪式上接连三番的突发状况，带大家沉浸式感受下百花奖的特别之处。 当晚颁奖进行的时候，我的座位紧挨着显示实时投票结果的大屏，于是也深刻地体会到了现场投票评奖的紧张和刺激，郁闷、惊喜和疑惑等种种情绪混杂在一起。针对每个奖项的得票情况和现场状况，我当然也有自己的观察和看法，在节目里都会一一聊到，不妨先以几句话简单锐评一下，让大家有个整体感知： 最佳男配&女配——于适和杨幂，我偏爱的两位都排第三，配角奖究竟应该表彰什么方向？ 最佳编剧&新人——《南京照相馆》和陈丽君，毫无争议 最佳男主角——易烊千玺，心快从嗓子眼跳出来了 最佳女主角——卫诗雅，对《破·地狱》的补偿心理使她断层领先 最佳导演——大鹏，他真的记得《长安的荔枝》每个细节 最佳影片——《哪吒之魔童闹海》，实至名归，饺子不到场也能引发风波 优秀影片——《惊蛰无声》，除了不解还是不解 这期内容里最为与众不同的一部分，就是我结合了身边熟人担任观众评审以及网上的repo，尝试着分析所有人都最为好奇的几个问题：这些掌握着明星能否荣耀加身决策大权的观众评委，到底都是何方神圣？他们是通过什么渠道选拔进来的？他们身上有哪些特征，会影响到评奖结果？ 场外的热议的话题也有聊到，王宝强0票、沈腾滑档......希望这期节目能让朋友们对百花奖有个更为全面的认知。 2:09中国电影最给明星祛魅的一个奖项/活动 5:55梁家辉回应“北上捞钱”说 7:55王彦桐开始投简历《给阿嬷的情书》木生被拒的经历 10:55提名表彰仪式的三番幽默意外 17:56颁奖典礼当晚，到场艺人必须接受观众的近距离注目礼 21:02百花奖现场投票的规则 23:13这些观众评审究竟是谁？ 32:06开始评析各个奖项的得主与票型 48:00王宝强的0票 50:29沈腾的滑档 51:57《哪吒之魔童闹海》与《惊蛰无声》上台领奖待遇的截然不同

花了整整两天时间，把关于《奥德赛》想说的话都放在了这期将近一小时的节目里了。 从仲树女士与诺兰的那场出圈的对话开始，与首映礼上那位半蹲的主持人形成了姿态上的对照组。再到高价黄牛票、映前内外网热转的几张“性感美女剧照”引发直男群体的空前兴致，以及“黑海伦”的选角策略。诺兰这次为什么颠覆性地启用了露皮塔·尼永奥饰演荷马史诗当中的“尘世第一美女”？所有关于《奥德赛》场外的舆论争议，这期节目里会有集中的分析。 至于影评部分，目的是为了让大家不用背上历史知识的负担也能轻松理解《奥德赛》的结构，我把影片故事类比成《西游记》，只不过奥德修斯的征程从性质上来说不像唐僧四人经过的那前八十难，而是重返东土大唐时候，在老龟背上经历的第81难的加长衍生版。 荷兰弟饰演的忒勒玛科斯与男主马特·达蒙饰演的奥德修斯的视角转换之间，诺兰颇费心机地安插了一个叙事诡计。一个英雄意识到自己不是英雄的时候，却反而走向了英雄之路，他是如何在悖论中深化自己的创作主旨的？ 如果把《信条》《奥本海默》以及《奥德赛》这三部诺兰最近的电影并联称为“英雄之罪三部曲”，诺兰痴迷于讨论“伟大的成就伴随对文明剧烈的破坏”母题的原因是什么？我想或许他也即将把自己放在了电影史的神坛位置。《奥德赛》里种种与他的前作高度趋同的手法，以及他对于巨物奇观欲壑难填的追逐，让我不由得对他的作品报以警惕。 也希望这期节目能给同样对《奥德赛》充满表达欲的朋友带来些许启发，欢迎大家加入进讨论当中。 1:09整体评价：50元以下票价可看 3:00关于《奥德赛》场外舆论的讨论 3:48独立与屈膝：论仲树专访和首映礼半蹲的主持人 15:37“性感美女剧照”引发的直男群体兴致高涨 19:08“黑海伦”露皮塔·尼永奥选角的理由 28:37将《奥德赛》类比成《西游记》 33:23诺兰这次的叙事花招 39:22《信条》《奥本海默》和《奥德赛》构成“英雄之罪三部曲” 39:30*勘误：《信条》中的逆熵技术由一位女性物理学家发明，并非主角创造，所以并不能算作主角之罪，他只是在弥补逆转时空技术所造成的灾难 41:08由黄牛票讨论诺兰打造的技术壁垒和观影焦虑 49:35与《奥本海默》高度趋同的叙事范式 54:08诺兰近年来痴迷“英雄之罪”创作母题的猜想 SHOWNOTES IN ENGLISH: It took a full two days to pack everything I wanted to say about The Odyssey into this nearly one-hour episode. I begin with the viral conversation between Ms. Zhong Shu and Nolan, which stood in stark contrast to the posture of the host who was crouching at the premiere. I then move on to the high-priced scalped tickets, the unprecedented buzz among straight men sparked by a few “sexy stills” of the actress circulating online and offline before the film’s release, and the casting strategy behind “Black Helen.” Why did Nolan make the groundbreaking decision to cast Lupita Nyong’o as “the most beautiful woman on earth” from Homer’s epic? This episode offers a comprehensive analysis of all the off-screen controversies surrounding The Odyssey. As for the film review section, the goal is to help viewers easily understand the structure of The Odyssey without having to shoulder the burden of historical knowledge. I’ve drawn a parallel between the film’s narrative and Journey to the West—though Odysseus’s journey isn’t akin to the first eighty trials faced by the four travelers led by Tang Sanzang, but rather an extended spin-off of the 81st trial they endured on the old turtle’s back while returning to the Eastern Tang Dynasty Nolan has ingeniously woven a narrative twist into the shift between the perspectives of Telemachus, played by Tom Holland, and the protagonist Odysseus, played by Matt Damon. When a hero realizes he is not a hero, yet paradoxically embarks on the path of a hero, how does Nolan use this paradox to deepen his creative theme? If we group Nolan’s three most recent films—*Tenet*, Oppenheimer, and The Odyssey—together as the “Trilogy of the Hero’s Sin,” what drives his obsession with exploring the theme that “great achievements are accompanied by the severe destruction of civilization”? I suspect he may be on the verge of placing himself on the pedestal of film history. The numerous stylistic elements in The Odyssey that closely mirror his previous works, along with his insatiable pursuit of grand, spectacular visuals, have made me view his work with a certain degree of caution. I also hope this episode will offer some inspiration to those of you who are equally eager to express your thoughts on The Odyssey. Everyone is welcome to join the discussion.

本以为能赶在《蜘蛛侠：崭新之日》零点场开场前发出这期影评节目，作为映前看点前瞻，没想到越说越多，一眨眼做节目也就熬到这会了，刚好，也能跟已经看过的观众朋友们对对答案。 这期节目结合我参加《蜘蛛侠4》上海见面会以及超前场观影的体验，评论主要分为四个方向：《蜘蛛侠4》的故事线、动作线、情感线，以及它处于《复联5》公映前的特殊意义，对后续的漫威宇宙有哪些引领作用。涉及一些情节剧透，介意的朋友可以先存着，等看完全片再来讨论。可以自信地说一句，应该是关于本片目前为止比较全面的一期分析。 1:35解析故事线 7:27新一代凤凰女登场 13:25解析动作戏 14:18成家班和成龙与《蜘蛛侠4》的联系 16:04独特的群舞式动作编排 18:05小虫两场关键的打斗戏份 20:49解析情感线 21:49与MJ感情的成人化讨论 24:16救MJ段落对前两版蜘蛛侠的致敬 26:30与惩罚者的联动 28:00与琴·葛蕾的关系变化，未来可能？ 30:36与彼得·帕克自我的相处 33:37解析《蜘蛛侠4》与《复联5》的关系 41:37对《复联5》的猜测 SHOWNOTES IN ENGLISH: I thought I’d be able to post this review episode before the midnight screening of Spider-Man: Brand New Day, as a preview of what to look forward to before the movie. But I ended up rambling on and on, and before I knew it, I’d stayed up this late working on the episode. As it happens, this also gives me a chance to discuss the movie with viewers who’ve already seen it. This episode draws on my experiences attending the Spider-Man 4 meet-and-greet in Shanghai and watching an advance screening. My commentary focuses on four main areas: the story, action sequences, and emotional arcs of Spider-Man 4, as well as its special significance leading up to the release of Avengers 5 and the direction it sets for the future of the Marvel Cinematic Universe. This episode contains some plot spoilers, so if you’re concerned about that, feel free to save it for later and come back to discuss it after you’ve seen the full movie. I can confidently say this is likely one of the most comprehensive analyses of the film to date. 7:27 The New Generation of Phoenix Makes Her Debut 13:25 Analysis of the Action Sequences 14:18 The Cheng Family Stunt Team, Jackie Chan, and Their Connection to Spider-Man 4 16:04 Unique Group-Dance-Style Action Choreography 18:05 Two Key Fight Scenes Featuring Spider-Man 20:49 Analysis of the Romantic Subplot 21:49 A Mature Discussion of His Relationship with MJ 24:16 The Scene Rescuing MJ: A Tribute to the First Two Spider-Man Films 26:30 Crossover with The Punisher 28:00 The Evolution of His Relationship with Jean Grey—What Does the Future Hold? 30:36 Peter Parker’s Relationship with Himself 33:37 Analysis of the Connection Between Spider-Man 4 and Avengers 5 41:37 Speculation on Avengers 5

在刚刚过去的第28届上海国际电影节，我有幸担任一带一路电影周的媒体评审，在8部参与评奖的影片中，通过投票打分评选出最受媒体关注电影人与最受媒体关注影片两个奖项。评论打分的事早已驾轻就熟，但在本届一带一路电影周的评审工作过程中，还是有着很多新鲜的体会。 刚好邀请《六人定律》节目主播，也是同为本届一带一路电影周媒体评审之一的@二十二岛主 一起，深入聊聊这个可能甚少被影迷关注到的单元。它经历了怎样的发展？选进来的片子又有着哪些特征？媒体评审团这个组织架构的初次设立，是否代表着上影节在进行着自己的“场刊试验”？通过分析几部让我们印象深刻的电影，希望大家能对这个单元产生一个较为完整的认识。 除却评审身份之外，我们还从媒体角度整体复盘了本届上影节给我们带来的深刻印象。我俩不约而同的谈到一个话题，那就是国际电影节格局重新洗牌后，国内唯一一个A类电影节的含金量体现在什么地方。相比起两年前，我在这里感受到的是更加蓬勃的心气和干劲。由衷希望，这座电影之城能够愈发亲切厚重。 2:09上影节审片系统的便利 3:24媒体评审，上影节的场刊？ 5:09对一带一路电影周的介绍 7:09选这些国家地区电影的意义 9:11对于今年入选影片的评析《诈死》（现豆瓣译名《命价》）《艾瑞斯的忧夏》《母鸡》《梦寻苏毗女儿国》 12:15一带一路电影周7年来的发展 18:38集中聊聊唯一入围的国产片《梦寻苏毗女儿国》 25:40一顿大餐后观察到的交流氛围 32:40媒体角度复盘今年上影节 33:47再谈今年国际电影节等级秩序的洗牌 36:40上影节主竞赛及亚新奖找到的定位：年轻化 SHOWNOTES IN ENGLISH: At the recently concluded 28th Shanghai International Film Festival, I had the honor of serving as a media juror for the Belt and Road Film Week. From among the eight films in competition, we selected the winners of two awards—the “Media Choice Award for Filmmaker” and the “Media Choice Award for Film”—through voting and scoring. While I’m well-versed in the process of reviewing and scoring films, I still gained many fresh insights during my time as a juror for this year’s Belt and Road Film Week. I had the opportunity to invite @Twenty-Second Island Master—host of the program The Six Degrees of Separation and also a media juror for this year’s Belt and Road Film Week—to have an in-depth conversation about this section, which may have received relatively little attention from movie fans. How has it evolved? What characteristics do the selected films share? Does the inaugural establishment of the media jury signify that the Shanghai International Film Festival is conducting its own “program guide experiment”? By analyzing several films that left a strong impression on us, we hope to provide readers with a more comprehensive understanding of this section. Beyond our roles as jurors, we also took a step back from a media perspective to reflect on the profound impressions this year’s Shanghai International Film Festival left on us. We both independently touched on the same topic: following the reshuffling of the international film festival landscape, what defines the prestige of China’s sole A-class film festival? Compared to two years ago, what I sense here is an even more vibrant spirit and drive. I sincerely hope that this city of cinema will become increasingly warm and profound. 2:09 The Convenience of the Shanghai International Film Festival Screening System 3:24 Media Reviews: The Shanghai International Film Festival Program? 5:09 Introduction to the Belt and Road Film Week 7:09 The Significance of Selecting Films from These Countries and Regions 9:11 Analysis of This Year’s Selected Films: Diya, Hold onto Me, The Hen, and Sumpa Kingdom 12:15 The Development of the Belt and Road Film Week Over the Past 7 Years 18:38 A Focus on the Only Domestic Film to Make the Shortlist Dreaming of Sumpa Kingdom 25:40 The Atmosphere of Interaction Observed After a Feast 32:40 A Media Perspective on This Year’s Shanghai International Film Festival 33:47 Revisiting This Year’s Shuffle in the Hierarchy of International Film Festivals 36:40 The Positioning of the Shanghai International Film Festival’s Competition and the Asian New Talent Award: A Focus on Youth

本人今年有幸担任第28届上海国际电影节一带一路电影周的媒体评审，有机会与本届入围的唯一一部国产片《梦寻苏毗女儿国》的主创聊了聊天。 就在这场谈话结束后的当晚，《梦寻苏毗女儿国》获得了今年一带一路电影周“最受观众喜爱”影片的奖项，很荣幸我的节目再次给嘉宾们带来了好运，也很高兴有更多观众在通过购票投票的方式支持这部特别的藏族电影。 本期节目是在整场访谈中我与本片男主角丁真珍珠的对话节选。自从在短视频爆火，成为地方文旅的代言人之后，丁真并未止步，而是向着专业演员的方向不断迈进着，从综艺节目，到这次饰演“白玛”这个角色，完成了自己的大银幕男主首秀。他的表演能力和汉语水平都是大幅进步的，打破了“非科班演员表演会有割裂感”的刻板印象。他和藏地故土、角色本身是融为一体的，不用复杂台词堆砌，眼神里自带高原山河赋予的温柔韧劲，把少年人面对族群宿命的纠结、柔软都诠释得很有层次感，越看越能品出细腻的质感。大家在节目里，将会听到他对于角色的理解，拍摄过程中难忘的回忆，以及对自己首任男主的评价。我看到一个天真谦虚的男孩，一如多年之前初见他那样。 视频版与完整版的对话内容将于近日上线，敬请期待；） 0:28丁真的问候 0:41与角色白玛相似的地方 2:25导演拉华加补充丁真这次的表演挑战 3:25再次系统性学习汉语的体验 5:21对于“赛马会”高光戏份的回忆 6:53首任男主压力很大，女主卓依娜姆在旁解围 7:39“给自己打50分” 9:50回看成片，连错误都记得很清楚

千呼万唤，终于来到本届上海国际电影节主竞赛单元我最为好奇的一部影片，《纸盒藏迷》的影评。 尽管在前瞻整理资料的过程中，我对影片改编的真实事件“跑马地藏尸案”的来龙去脉已经较为熟悉，但在观影过程中，还是会被导演的叙事野心震惊。他并没有采取立场，坚定地为张颂文饰演的嫌犯原型翻案，而是采用了更为暧昧的破题思路，让整个香港围绕着这里所发生的所有冤屈、痛苦和扭曲而倾倒。正是张颂文曾亲口告诉我的一种拍摄手法的“失误”，给影像赋予了视障一般模糊的感受，进一步深化了《纸盒藏迷》对于不可知论这一艺术风格的践行。在这期节目里，我会进行详细的论述。 至于张颂文在塑造“司徒伟平”过程中所展现出的表演能力，我给出了三个重要层次的解读：被不公体系和无良法制所摧残的脆弱绵柔、捍卫自身清白的坚定不移，以及人格不稳定状态下近乎于“小丑”的意念对峙。三种表演状态，刚好对应着官方海报中对于张颂文脸孔的三重镜像。希望能在不涉及太多剧透的情况下，让影迷朋友们对他此次的发挥有一个直观的认知。 在“司徒伟平”身上，我看到的是张颂文一个阶段内银幕形象的浓缩总结，同时还有不少新鲜的面向涌现出来。无论是今年上影节金爵奖，还是在明年香港金像奖的最佳男主角奖项角逐中，张颂文无疑都有着很强的竞争力。而眼下面对着电影节主竞赛单元的小众评审制度，我也在节目里简单分析了一下张颂文能否摘得金爵影帝的一些状况。 万事俱备，只欠东风，期待《纸盒藏迷》能斩获更多应得的荣誉，也希望它能尽早跟更多观众见面。 1:33简单背景介绍，“跑马地藏尸案”的历史地位 3:36对真实细节的还原 7:25与原案相比很重要的一个删减情节 9:38原创情节的部分 11:18英政府的负面影响 12:40“陈奖”本土警察的形象 17:19导演手法赏析 21:53风格最强烈的一场戏，缓慢地看不清人脸 23:22张颂文曾向我对此类视觉效果的介绍 26:18张颂文表演的三个层次 30:21司徒伟平高光戏份的纯熟掌控 32:43意外的结局处理方式 35:40冲击表演奖项的“障碍”

第28届上海国际电影节重磅开幕，今天为大家带来的是本届金爵奖主竞赛第一部完成官方首映的国产片《燃烧吧！爸爸》的影评。本片名字听上去格外有劲，但叙事方式却意外的轻柔，将母女面对至亲之人离世的不同态度生动地呈现在银幕上，没有触目惊心，只有点到为止。如果要以大家比较熟悉的词藻来形容本片的样貌，可以讲之概括为，将文淇追寻主体性的少女形象融入进《爱情神话》的沪语场域当中，轻松活泼，而又余味悠扬。 文淇饰演的顾立言给我留下很深刻的印象是，大部分时间她要比倪虹洁饰演的妈妈吴开蒂更像家长。对待父亲死亡这件事，她没有经历放肆的情绪失控，却又静水流深，很难真正从失去的哀伤中抽离出来。相较而言，妈妈更加直抒胸臆，毫不吝啬于欢笑与泪水的表达，大部分情绪都直来直去，母女关系在本片中就这样迎来奇妙的倒转。 本期节目，就在尽可能不剧透的基础上，聊聊《燃烧吧！爸爸》在家庭和成长两个题材方向的讨论和建树，并且进一步分析下文淇在本片中所完成的表演任务，以及本片在近期她主演的几部作品序列中的位置，带大家领略下文淇在追寻主体性的同时，是如何处理更为复杂，更为难辨是非的情感处境的。 2:09和预期表达不一样的地方 3:09文淇+《爱情神话》？ 6:10喜剧的处理方式 9:43母女状态的对比 13:14自由与关爱的冲突 15:08文淇这次追寻的是什么自由？ 17:05高潮追思会的情节 19:24这次文淇面临的是更为复杂的情感关系 20:33倪虹洁与喻恩泰的三搭默契 26:09郭俊辰的惊喜客串

第28届上海国际电影节现已开票，影迷朋友们的热情依旧火爆，不知道大家都有没有抢到心仪的放映场次？ 本期上影节的片单推荐节目将分为两个部分，一是在我还没看过的新片中，选出几部个人相当期待的新片给大家来做前瞻，二是在我已经看过的影片中，挑出一些个人认为很有必要在大银幕体验的电影，两部分加在一起刚好是十部电影，与其说是购票安利，不如说是我私人心水，希望能给大家带来一定程度的参考。 金爵奖主竞赛单元中的两部华语片当然是重中之重。所以大家可以在节目中听到关于张颂文主演新片《纸盒藏迷》较为完整的真实案件背景简介。这则曾经轰动香港的“十大奇案”之首，为什么到今天仍有讲述的必要？它在香港司法史上确切的历史意义是什么？案情究竟经历过哪些疑点？片中男主角的原型人物有过怎样的遭遇？结合角色生平，张颂文这次的表演发挥空间具体将体现在什么地方？毫无疑问，“司徒伟平”在张颂文的角色履历中又将成为一个复杂而充满魅力的存在，再加上翁子光团队改编奇案题材的丰富经验，相信《纸盒藏迷》有足够潜质追逐本届主竞赛的各项荣誉。 《燃烧吧！爸爸》是由文淇主演的另一部备受瞩目的新片，尽管题材聚焦日常生活，但目前公开的故事梗概显得相当神秘有趣。大概一个多月之前，我才在一场推介会上看到片方释出的独家片花，印象还相当深刻，索性用语言的方式详细的为大家描述下片花中的内容，以及我个人对影片看点的分析。这则悲喜交织的青春家庭戏剧，能够涵盖几许情感的范围。文淇年纪虽轻，却又是如何在接连几部影片中获得主创对其“相互成就”的交口称赞。继《我，许可》《余烬》后，她的角色“顾立言”能够解锁捍卫一项新的自由，也是我会关注的方面。 当然还有更多佳片推荐，每部我都附上了一定要在电影院观看他们的理由，也就是它们在大银幕上无法取代的观影体验，希望大家能够听得开心，也很期待能够跟大家对上答案；） 附上今年上影节开票的官方战报感受下⬇️ 0:45节目形式的介绍 2:54新片看点前瞻——《纸盒藏迷》 18:06对于张颂文表演的期待 27:08《燃烧吧！爸爸》 28:10分享文淇本人对角色的解读 35:17《一个部门的诞生》 37:59班底实力有保障 39:33大银幕观影推荐——《世界的主人》 48:06《茫然女王》 52:11《以救赎之名》 57:21《总统的蛋糕》 59:38《无可奈何》 64:19《笼民》 69:48《一个夜晚与三个夏天》

第79届戛纳电影节落下帷幕，罗马尼亚导演克里斯蒂安·蒙吉时隔19年凭借《峡湾》二封金棕榈，成为戛纳历史上第10（组）位迈入双金俱乐部的导演（这个数字是官方在发布会上说的，严谨来点也可以说是第9位或第11位）。 最佳男演员和女演员奖都颁给了同一部片子里的两位演员，导演奖更是同时颁给了两部片子，共计3位导演，获奖人数之多可以说是史上罕见，就连工作人员都来不及为每个获奖者制作奖杯，导演们像参加接力赛似的，轮流举着同一座奖杯合影留念，场面一度十分荒谬。 对于今年的颁奖结果，我会给到一个“人”的评价，连“人上人”都算不了。所以本期节目将会就奖项归属逐个进行分析，男女演员奖的“双黄蛋”意味着什么？在我们心中根深蒂固的“主配论”在欧洲电影节逐渐模糊。导演奖双黄蛋又意味着什么？戛纳在同时鼓励着极繁与极简两种谋篇策略的技法。连李庚希都在期待的《峡湾》能助力蒙吉再度斩获金棕榈的核心原因究竟是什么？ 节目最后的甜点部分，还展望了下明年有望入围戛纳主竞赛单元的两部国产片种子选手：刁亦男X易烊千玺的《融雪以后》与贾樟柯X赵涛的《敦煌妈妈》。如果预测成真的话，明年将是千玺携主演电影来到主竞赛单元的第二年，廖凡也将在同一年有两部电影同时入围主竞赛单元，将会是不折不扣的华语大年。希望这两部电影都能够顺顺利利，发挥稳定。 回想起来，本届戛纳获奖的几部重磅影片都做了比较细致的单片影评，只是还没有进行精剪，那么《峡湾》《黑球》《米诺陶》《懦夫》，大家最想先听到哪部的评论，也欢迎留言告诉我，监督我的工作：） 1:02开胃菜 1:05《无名女孩》拿的两个奖 3:01对本届戛纳主竞赛最大遗珠《纸老虎》的评论 8:10詹姆斯·格雷在当代美国导演中的特殊位置 15:01主菜 15:19整体给到“人”评级的理由 17:21最佳男演员《懦夫》伊曼纽尔·马基亚与瓦伦丁·坎帕涅 ：女性颁奖，女性形象 18:54最佳女演员《突如其来》维尔日妮·埃菲拉与冈本多绪：维尔日妮在双片入围的女演员里演得不错 19:24演员奖双黄蛋背后代表着什么审美趋势？ 21:54最佳编剧《我们的救赎》伊曼努尔·马雷：公平，公平，还是XX的公平 25:02评审团奖《向往的冒险》：要是没硬伤能冲大奖的 27:06最佳导演奖《黑球》 哈维尔·安布罗希 / 哈维尔·卡尔沃与《故土》帕维乌·帕夫利科夫斯基：极繁和极简，都值得夸赞 33:02评审团大奖《米诺陶》：结尾不太行 34:15金棕榈《峡湾》：结尾太行了 40:15甜点 40:21明年有望入围戛纳主竞赛单元的中国电影 SHOWNOTES IN ENGLISH: The 79th Cannes Film Festival has come to a close. Romanian director Cristian Mungiu won his second Palme d’Or after a 19-year hiatus for Fjord, becoming the 10th director (or team) in Cannes history to join the “Double Palme” club (this figure was cited by officials at the press conference; strictly speaking, it could also be considered the 9th or 11th). The Best Actor and Best Actress awards were both presented to actors from the same film, and the Best Director award was split between two films, honoring a total of three directors. The sheer number of winners was unprecedented in the festival’s history; even the staff didn’t have time to produce trophies for every recipient. The directors took turns holding the same trophy for photos, as if participating in a relay race—a scene that was, at times, quite absurd. As for this year’s results, I’d rate them as merely “average”—not even “above average.” So in this episode, we’ll analyze each award individually. What does the “double win” for Best Actor and Actress signify? The deeply ingrained “lead-support actor” distinction in our minds is gradually blurring at European film festivals. What does the double win for Best Director signify? Cannes is simultaneously encouraging both hyper-elaborate and minimalist narrative strategies. What is the core reason why Fjord, a film even Gengxi Li is anticipating, could help Mungiu secure another Palme d’Or? In the program’s closing segment, we also look ahead to two promising Chinese films expected to compete in next year’s Cannes Competition: Yinan Diao and Jackson Yee’s Red Snow and Jia Zhangke and Zhao Tao’s Mamma Dunhuang. If these predictions come true, next year will mark the second consecutive year that Jackson Yee brings a film in which he stars to the Competition. Liao Fan will also have two films simultaneously nominated in the Competition that same year, making it an unquestionably banner year for Chinese cinema. We hope both films proceed smoothly and deliver solid performances. Looking back, I’ve written fairly detailed reviews of several major award-winning films from this year’s Cannes, though they haven’t been edited yet. So, between Fjord, The Black Ball, Minotaure and Coward, which one are you most eager to hear about first? Feel free to leave a comment and let me know—it’ll help keep me on track :) 1:02 Appetizer 1:05 The two awards won by A Girl Unknown 3:01 A review of Paper Tiger, the biggest snub of this year’s Cannes Competition 8:10 James Gray’s unique position among contemporary American directors 15:01 Main Course 15:19 The reasons behind the overall “average” rating 17:21 Best Actor for Coward: Emmanuel Macchia and Valentin Campagne – A female presenter, a female image 18:54 Best Actress for Suddenly: Virginie Efira and Tao Okamoto – Virginie delivered a strong performance among the actresses nominated for two films 19:24 What aesthetic trend does the double win for acting awards signify? 21:54 Best Screenplay for A Man of His Time: Emmanuel Marre，Fair, fair, or just plain unfair 25:02 Jury Prize: The Dreamt Adventure: Could have been a contender for the top prize if not for its flaw 27:06 Best Director: The Black Ball (Javier Ambrossi / Javier Calvo) and Fatherland (Pawel Pawlikowski): Both maximalism and minimalism deserve praise 33:02 Jury Prize: Minotaur: The ending falls a bit short 34:15 Palme d’Or: The Fjord: The ending is absolutely brilliant 40:15 Dessert 40:21 Chinese Films Likely to Compete in the Cannes Competition Next Year

当前音频为未经剪辑的原始录制音源，气口及口癖或影响收听体验，仅供尝鲜，介意者谨慎收听，精简版音频及时间轴稍晚放出。

当前音频为未经剪辑的原始录制音源，气口及口癖或影响收听体验，仅供尝鲜，介意者谨慎收听，精简版音频及时间轴稍晚放出。

本届戛纳电影节入围的唯一一部华语长片《无名女孩》在影评人周斩获“发行奖”，也是今年在戛纳所有华裔创作者的开门红。颁奖的时候我就在现场，看到邹静导演以沉着简练的发言登台领奖，看到沈佳妮起立鼓掌，也看到李庚希把手举到嘴边开心地呐喊着。这个奖项是由影评人周评审团评选出来，授予有抱负且独具创意的青年电影人，并且将20000欧元的奖金交给《无名女孩》的法国发行公司，用于本片后续在法国的宣传与市场推广行为。 国内不少观众对于平行单元的一切都很陌生，更不要说奖项，所以本期节目就在听友的倡议下，详细介绍介绍李庚希新片所获奖项的由来、象征意义以及对于影片在整个欧洲扩充影响力的积极推动作用。 同时也聊聊主竞赛单元出人意料的最火爆的新片——金狮奖得主安德烈·兹维亚金采夫执导的《米诺陶》，首映日那天我还想不通它为什么会是主竞赛最难抢票的一部片，看完后我开始明白，它以希腊故事中的典故作为片名，以俄罗斯的一个富有的家庭所经历的戏剧性变故作为线索，提供了俄乌对峙下观察俄罗斯社会现状的一个罕见的视角。目前本片的场刊评分也稳居前位，是获奖的热门之一。 0:39开胃菜 1:23影评人周发行奖和华语片的渊源 2:07奖项由来的详解 5:53影评人周表演类奖项“新星奖”的归属 7:13平行单元究竟是不是戛纳电影节的一部分？ 11:22主菜 11:29《米诺陶》片名的由来 17:13神话故事跟影片情节的联系 18:25一些可能会拿奖的特质 22:41真正的稀缺性，在流亡中对俄罗斯社会的反思 28:27甜点 29:14阿莫多瓦or黑泽清？