难以置信的事实

　　Fraught with over obvious symbolism, Hartleys early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.


　　Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)


　　As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("Im a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.


　　The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley cant leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).


　　Hartleys weaves all of a small neighborhoods idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

在人类历史即将终结的1989年，神父般的杀人犯机械工出仓回老家，遇上爱读书的厌世少女。不可思议的真相，是远方那场若有若无的灭世爆炸

完成度很好。由表及里似乎有很多矛盾的设置，但是捏合在一起又很协调。作为处女作，有成型的美国独立电影美学，一种类似薄荷糖的清爽质感

好久没看到这么有意思的美国电影了，虽然不够精致，但却很有意思，特别是Adrienne Levine的表演，很有灵气，把青春期女孩爱幻想的心理，以及善变的情绪表达得很到位，她是我目前为止看过的电影中。把青春期女孩表演得最好的，她的脸和表演，各占五分。

独立电影的气质很重。电影里的角色大多都是怪咖:默不作声考上了哈佛的奥德莉，一天到晚跟陌生女孩搭讪说你能做模特的摄影师，常常被人认为是传教士的机修工约什，迈克，佩尔，维克……片子里不断打出“过了一会儿”“然后”之类的的字幕衔接过场……一幅美国小城的风情画，各种冷暖亲疏。

过去三十年美国独立电影能成就Jim Jarmusch，却又近乎遗弃Hal Hartley，这种遗憾大概也是我们时代消费主义本性又一症候。抛开趣味和观念设定这些不甚高明的东西不谈，Hal在其长岛三部曲中以如此风格化情景剧式的编排所建构出的人物情感，却最终在观众端达成了如此真挚的流动性。这样天才动人瞬间，我可能在贾木许电影里连一秒钟都没感受到过。

Which one, "faith" or "maybe"?很粗糙，結尾的群戲也很莫名，但力量真純粹，純粹得變形了生活，卻讓人不想懷疑。

这片子气质怎么这么迷幻摇滚，小镇极度厌世的文学少女×禁欲似priest的机修工，几段自说自话的台词有点儿戏剧的效果，喜欢！

太喜欢这个电影的气质了！MK2 Bibliothèque居然在最大的A厅排了这个电影，偌大的放映厅观众没有超过20个，真的非常非常可惜...

女主女配加男主的颜值够四星，画面色调也养眼，但是电影本身怎么说呢，不停以场景变换中的两两对话来推进剧情，对话过多过散，总是一个调子。开头以为会是一部稀奇古怪的电影，通篇看下来，更像是一杯温吞水。

长岛三部曲之一。在Hal Hartley的世界里，每个人都像是带了bug的NPC，时常有些难以理解的举动（在本片中如Emmet每当有人偷瞄Audry就要打人、餐厅里Edie Falco与男主的“I know what you need”死循环对话），并且人均带哲学家，以及二十多年贯穿始终的主题：社会边缘人与边缘社会里的普通人。在这个意义上，Hal Hartley当然是“作者”

首先致敬早逝的女主角 小仙女自带灵气演这种古灵精怪的美少女太适合了8⃣️ 看了导演另两部类似的 还是这部最爱 冷冷的笑点 莫名其妙的执着点 清新又独特

the girl is crazy.愤世嫉俗少女、“神父”前科罪犯修车工、学业抉择与模特的约定、杀人疑云。酒吧重复4遍“You need a woman not a girl······but l like her"的对白，捧着末日书籍的大段背书，背着爱情幻听着远方爆炸。喜剧成分多且多冷。