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来自《好莱坞报道》的剧透

sam keeley
2018-01-29 21:35:07
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Murder-mystery from first-time director Rebecca Daly deliberately avoids suspense.

CANNES -- In her first feature, The Other Side of Sleep, Irish director Rebecca Daly channels much creative energy into atmosphere and mood, but shows less skill at developing characters or escalating tension. Like its chronic sleepwalker protagonist, who still bears the psychic scars of the disappearance and death of her mother 20 years earlier, this somber drama inhabits a gloomy dream state that’s intriguing but far too opaque.

The film opens mid-dream, as Arlene (Antonia Campbell-Hughes) wakes up in the woods of her small rural hometown in the Irish midlands next to the murdered body of a young woman. Reality and subconscious immediately begin to blur as news circulates that local girl Gina has been killed while returning home after a night out partying. Like a ghost observing her own life from the outside, Arlene registers the gossipy speculation of her fellow factory workers and the



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Murder-mystery from first-time director Rebecca Daly deliberately avoids suspense.

CANNES -- In her first feature, The Other Side of Sleep, Irish director Rebecca Daly channels much creative energy into atmosphere and mood, but shows less skill at developing characters or escalating tension. Like its chronic sleepwalker protagonist, who still bears the psychic scars of the disappearance and death of her mother 20 years earlier, this somber drama inhabits a gloomy dream state that’s intriguing but far too opaque.

The film opens mid-dream, as Arlene (Antonia Campbell-Hughes) wakes up in the woods of her small rural hometown in the Irish midlands next to the murdered body of a young woman. Reality and subconscious immediately begin to blur as news circulates that local girl Gina has been killed while returning home after a night out partying. Like a ghost observing her own life from the outside, Arlene registers the gossipy speculation of her fellow factory workers and the shell-shocked grief of Gina’s family at a community prayer service.

Obsessively collecting newspaper coverage of the murder while returning repeatedly to a photograph of the mother she was too young to remember, Arlene insinuates herself into the lives of the dead girl’s family. She befriends Gina’s sister (Vicky Joyce), and cautiously gets closer to the victim’s boyfriend (Sam Keeley), a suspect in the murder.

While the police investigation happens outside the confines of the narrative, Daly and co-screenwriter Glenn Montgomery cast suspicion over a number of shadowy figures, including Arlene’s factory boss and Gina’s troubled father. It’s suggested that Arlene might have committed the murder herself while sleepwalking, but more strongly, that she is courting her own death by wandering the town at night, willfully exposing herself to danger.

All this is moderately absorbing, but the filmmaker’s deliberate avoidance of suspense keeps the drama remote and unaffecting. Even in high-meltdown mode when Arlene is trashing her kitchen and smashing plates, we’re never encouraged to feel much for her, despite Campbell-Hughes’ intense vulnerability.

Characterized by extended silences, minimal dialogue, static shots and penetrating close-ups, the film’s melancholy stillness feels a little studied and its slow pacing makes it a slog. The contrasting notes of balefulness and raw sorrow are disquieting at times, but overall, its spell tends to dissipate without getting under the skin.

In texture, it’s not unlike AMC’s The Killing and the Danish TV series from which that highly addictive procedural drama was adapted. That show conjures death and grief into palpable, insidious forces that condition wave upon wave of unpredictable, often irrational behavior. Daly’s film, however, remains soft and impressionistic, too caught up in its own ambiguities.


机翻:

第一次导演丽贝卡·戴利(Rebecca Daly)的神秘故事刻意避免了悬念。

戛纳——在她的第一部作品《睡眠的另一边》(The Other Side of Sleep)中,爱尔兰导演丽贝卡·戴利(Rebecca Daly)将大量的创意能量注入到气氛和情绪中,但在塑造人物或加剧紧张气氛方面表现出了更少的技巧。就像它的慢性梦游主人公一样,她仍然承受着20年前她母亲的消失和死亡的精神创伤,这一阴郁的戏剧在一个阴郁的梦境中形成了一个令人感兴趣但又太不透明的梦境。

影片中,阿琳(安东尼娅·坎贝尔-休斯饰演)在她位于爱尔兰中部的乡村小镇的森林里醒来,身旁是一个年轻女子被谋杀的尸体。现实和潜意识立即开始模糊,因为新闻报道说当地女孩吉娜在晚上外出聚会后回家时被杀。像一个从外面观察自己生活的鬼魂一样,阿琳在社区祈祷仪式上记录下了她的同事们的八卦传闻,以及吉娜的家人对她的悲伤。

她痴迷地收集报纸上关于谋杀的报道,同时又不断地回到母亲的一张照片上,她太小了,记不起来了,她把自己融入了死者家庭的生活中。她和吉娜的妹妹(薇姬·乔伊斯饰)交上了朋友,并小心翼翼地靠近受害者的男友(山姆·基利饰),他是谋杀案的嫌疑犯。

虽然警方的调查发生在叙事的范围之外,但戴利和编剧格伦·蒙哥马利(Glenn Montgomery)对一些模糊的人物表示怀疑,其中包括阿琳的工厂老板和吉娜的父亲。有人建议阿琳在梦游的时候自己犯了谋杀罪,但更强烈的是,她在晚上在镇上游荡,故意让自己暴露在危险之中。

所有这些都是适度的吸收,但是电影导演刻意回避悬疑,却使这部戏剧远离尘俗。即使是在阿琳破坏她的厨房和打碎盘子的时候,我们也从来没有被鼓励去为她感到高兴,尽管坎贝尔-休斯的身体很脆弱。

影片的特点是沉默寡言,对话少,镜头静音,特写镜头的特写镜头,影片的忧郁沉静让人感觉有点被研究,节奏缓慢的节奏使它成为一种苦闷。痛苦和悲伤的对比音符有时会令人不安,但整体而言,它的魅力往往会消散而不受皮肤的影响。

在质感上,它与AMC的《杀戮》(The Killing)和《丹麦电视连续剧》(The Danish TV series)不同,后者是一部非常容易上瘾的程序剧。它使死亡和悲伤变成了可触知的、阴险的力量,在一波不可预知的、往往是非理性的行为的浪潮中出现。然而,达利的电影仍然是柔和的和印象派的,太过拘泥于自己的模糊。
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