影子

Shadows is Milcho Manchevski’s most ambitious film to date, a mysterious, at times elusive work that delves into the mind of a young doctor whose life is turned upside down when he is involved in a car accident. Lazar Perkov (Borce Nacev) is a man with everything going for him. Young and good-looking, he has a beautiful wife and child, a house and a good job. His nickname is “Lucky,” but something important seems to be missing from his existence. He is constantly trying to live up to the expectations of a demanding mother and a bored spouse. After he barely survives a serious accident, his life changes in unforeseen ways.


　　He enters into a series of encounters with people who seem to die over and over again: a man with a baby, an old lady speaking an indecipherable foreign dialect and a strikingly seductive young woman. Their only message is “Return what is not yours. Have respect.” As these ghostly apparitions haunt his dreams and invade his waking life, Lazar gradually intuits that they are souls from the afterlife looking for peace. Or perhaps they are figments of his imagination? But why have they chosen him? Lazar seeks out a professor of linguistics as he determines to get to the root of the strange language that the older woman keeps muttering. The professor is away at a conference, but his wife is eager to help – and Lazar soon finds himself involved in a perplexing relationship with this woman, whose life is also an enigma. Meanwhile, his neighbours come and go, people appear only to vanish again, and his wife seems indifferent to his fate as she dallies with a lover on a seaside vacation with their child.


　　There is a surreal and nightmarish quality to Shadows, Manchevski’s impressive attempt to capture the zeitgeist of his homeland. Confused and troubled, Lazar is perhaps a metaphor for Macedonia, a country that has lived through trauma and is trying to put the pieces back together. A modern-day Lazarus returned from the dead, Lazar tries to make sense of a world that evades rational comprehension. This fascinating exploration of an interior state of mind provides a compelling look into a lost man trying to find his way home again.


　　Piers Handling

[想看2008-12-02]，曼彻夫斯基补完。可能是老司机最差的一部……拍鬼片还不忘搞他的似是而非似非而是的叙事结构（虽说也就是用一些闪前），而且也把话题集中在阶级和历史的暴力上面，处处都清晰反而就刻板了。床戏拍得蛮有创意。另外老司机又在片中用照片客串了一下。说起来老司机当年也是天才少年，后来真是一部不如一部，[比基尼穆恩]又去了些莫名其妙的电影节……希望新片顺利吧。

2017112 两星半吧，谜团未揭开时拍得又惊悚又销魂，后半段简直变成教育片：上层社会对于底层人民的压迫永不停止以及好死不如赖活着。

（光盘糟烂的翻译真让人闹心，本来就有些马其顿文化元素，翻译还一句不通，看得云里雾里。）曼彻夫斯基的片子还是玩得花里胡哨，虽然因为字幕没咋看懂，但是总觉得有些故弄玄虚……不过作为惊悚片，氛围营造还是不错的。

故事框架地搭建好像没有能够很好的阐明或深化影片要探讨的内涵，这使得这部影片有些故作玄虚的感觉。还好男主角禁得住看。

曼彻夫斯基最难懂的片。根本不是恐怖片，依旧延续了暴雨将至式的核心。求对欧洲史有了解的神仙解读“被抛弃,自杀,爱琴海”这句对马其顿人的意义。

《暴雨将至》马其顿大导演米尔科·曼彻夫斯基（Milcho Manchevski）07年新作

因为《暴雨将至》这部电影，我知道了马其顿这个国家，也是因为暴雨将至，我才买了这张影子。但这个鬼片既不吓人也不感人，所以也就如此吧。看来迷信导演也是不行的。