1、据说是迪伦《Visions Of Johanna》灵感来源,他居住在格林威治村时,经常去一家艺术电影院看电影,歌曲的乔安娜代表的是被恶魔附身的修女,隐喻他被安迪沃霍蛊惑的女友伊迪;2、 构图工整:半明半暗中浮现的脸部,从暗处走出的白衣队列,修女邪气的眼神在阴影慢慢闪现,神父在首尾与“恶魔”对话的呼应场景中明显的脸部线条分割线,皆极力呈现光明/黑暗、圣洁祈祷/世俗欲望的对立。 几次(主观视角)开门:神父首次推开修道院大门(踏上迷途),推开拉比的门(确认心魔存在),推开酒馆的门(对尘世的绝望),推开马厩的门(彻底魔化);3、不同于一般驱魔片,更像是一部对魔鬼的理解和解释的论述,此处的魔鬼是心魔,是诱惑,是人性之恶,是宗教上的原罪,甚至是爱。
Whatever the extend that the camera’s existence intervene the performance of those people, it makes me to believe those “actors”, believe their pain, confusion, loneliness, weakness and also their happiness. That is some kind of truth. Truth can be intervened and released.