更新时间:2015-06-02
灵岚 • 诅咒:对影片雕塑
1
吊索不是彼处的吊索，而是此地的。人不是假寐的狗，而是散发着人味儿的。
2
楼梯间很高，楼道很宽，但无疑和人一样是破败的。楼梯间的火堆是小的、可控的、没有威胁的、能够和人对视的。脚步声，接着，关门声，将它逼上绝路－可能是借助了风的。
3
景物不是被镜头淘汰的，而是主动退避了的。
4
I am trying to make our daughter different from us. She will have a different life. We won't need to explain to her.
Why can't you love me.
I love you and you know it. (slam the door)
5
笑声是难以消化的
You've got nothing to lose. All you are risking is your own skin.
是自我凌虐的，也是来自他人的，是突兀于生活摇镜的
手风琴演奏不是多余的，但手风琴家却是多余的
6
大雨是刻意的，仰角摇镜是睡意的，微颔首的脸是勉强的、被原谅和托辞俘虏的，演唱者是湿透了的，意识是缩水了的
7
She is a bottomless swamp.
如果没有烟，画面是硬的。他将走进镜头为他让出的空间，成全一个老女人对一个中年女人戏评的美感。
8
I am not talking about revival but disintegration. Irrevocable disintegration.
9
一场雨凑合着下。在这种坏境下某种集体式的等待，无论其形式还是实质，也是挺无效的。对话是被打胎药打出来的－恰似必不可少的蒸汽。
Rediscover life again. The joy of great things. The taste of victory and success. And that's where you've failed, because you've given up. Because one cannot live without love and decency.
You really might be stronger than me.
他不该没有戏，他是悬而未决的，观众怎可忍受，他是观众灼热眼中的一块生肉亟待被蒸烤－直到女人已经没得可切 － 可见整个过程就像这句话一般涩而发霉。
10
雾是必需的，好让人物无中生有。一个念诗或背诗的老女人是不能露出面孔的，尤其不能露出口鼻，直到诗被背完，我们知道得更少了，老女人诗伞下得一阵风，狗群也是幻觉的狗群。
11
吊索是工厂的吊索，是铁路的吊索，是民宅的吊索－是完全的一条声轨。
女人的男性的，男人的女性的，裸体是锐角的，咀嚼是愁苦而漫长的，远方也是等待咀嚼的。
12
纵横是双移，人总是从右边向着左边走去，歌声是从底处滋生的，也是在底层游荡、在底层走远的，雕塑的某个角度是活人，活人的影像在任何角度都是此人的坟墓，三个没有交集的人之间有着被放大了的共鸣。
13
When you looked at me yesterday, I realized something. I realized that between you and a world forever out of reach, there is a strange and empty tunnel. You are standing alone at the entrance to the tunnel, because you know something I can't even put a name on. Something deeper and more ruthless that i can ever understand. Because it is something behind the light and warmth that I cannot bear. I have been able neither to believe in it nor to renounce it. If I were to lose you, it would be the unforgivable end of me, because I know nothing about that unnameable world. You mean that world to me. Kick me, spit at me, and I'll return again and again. You are ruthlessly right.
性爱是极地的，是对抗噪音的，是比任何其他时刻都更零度的。世上最绝望的交媾，最尊严的爱－从沉痛底层爱着轻盈高处，凭着一条比高处更轻的灵魂。
女人是虚构的，不比男人更真实，但男人却是近在眼前的、高还原度的，因此男人是诅咒。
14
I sit by the window and look out completely in vain. For years and years I've been sitting here and something always tells me that i will go mad the next moment. But i don't go mad the next moment, and i have no fear of going mad, because fear of madness would mean that i'd have to cling to something, yet i don't cling to anything. ..To look at the hopelessness of things. ..They want this irreversibility of things to drive me mad, but the next second they want me not to go mad.
这个男人对前妻的问题就是我少时对母亲的问题－他被自己的悟力智力俘虏了
that frail body had so much blood in it.
他是罪恶的，但正是这个判定才能使他欣慰，使他向前，使他流动，使诸事围绕着他得以发生，时间关于他得以生效，关系对于他得以成形。被他爱上意味着这件事已经与你无关，这件关于爱情的事已经结束，他爱的是他得以放松的缺口，你是他这口湖的缺口。
事到此时，整部电影的架构都被翻牌了，被一种深邃的痛苦翻牌，成了伪架构，伪命题，伪效果，伪叙述，伪情绪，伪动作……男人再说什么都变成了戏剧，女人地陪衬更加荒唐，戏剧中戏剧性的戏剧－真相成分少于70%的谎言，是无法接受的
15
白色噪音，无法识别手部动作。
16
-i am a coward. i don't even dare hope my fate will change for the better. All i do is make excuses for my cowardice through nausea.
-How about thinking of something other than yourself for once?
-Cant you understand? Ive grown old. I'm a wreck who doesn't dare do anything. Before your courage departs and your haven't the guts to do what you would have done before for the slightest chance of success.
不他的问题是，他的价值观是同一性的、生锈而温和的，以及，再一次，高还原度的。
17
瓢泼大雨中脚踩舞点的只有他 独自一人。
你也有你的怀疑，我不相信来世，因此只在天未亮前的间隙中想着你，和你即将沧桑的前额上的尘埃。
18
老女人此时变得世俗，不再像柏林苍穹下的其中一只天使。伪架构试图为自己寻找立足点，但是
it is flying
伪架构是伪的，它自身本来就不知道这里是哪里，那里是哪里
19
在他人以及由他人组成的人群的欢歌笑语中，去警察局坦白忏悔的只有他独自一人。
Believe me, there is nothing worse in a man's life than when he realizes that those he loves, those he feels are friends, when suddenly it turns out, that they are on a fatal path and cannot find the proper way again.
20
也许是忏悔之后的原因，狗得以愿意施舍与他，雨中共舞吠。
不毛之地是泥泞的，泥泞是终极的，男人走过，走过去的是埋葬了的，也是人之虚幻。
吊索不是彼处的吊索，而是此地的。人不是假寐的狗，而是散发着人味儿的。
2
楼梯间很高，楼道很宽，但无疑和人一样是破败的。楼梯间的火堆是小的、可控的、没有威胁的、能够和人对视的。脚步声，接着，关门声，将它逼上绝路－可能是借助了风的。
3
景物不是被镜头淘汰的，而是主动退避了的。
4
I am trying to make our daughter different from us. She will have a different life. We won't need to explain to her.
Why can't you love me.
I love you and you know it. (slam the door)
5
笑声是难以消化的
You've got nothing to lose. All you are risking is your own skin.
是自我凌虐的，也是来自他人的，是突兀于生活摇镜的
手风琴演奏不是多余的，但手风琴家却是多余的
6
大雨是刻意的，仰角摇镜是睡意的，微颔首的脸是勉强的、被原谅和托辞俘虏的，演唱者是湿透了的，意识是缩水了的
7
She is a bottomless swamp.
如果没有烟，画面是硬的。他将走进镜头为他让出的空间，成全一个老女人对一个中年女人戏评的美感。
8
I am not talking about revival but disintegration. Irrevocable disintegration.
9
一场雨凑合着下。在这种坏境下某种集体式的等待，无论其形式还是实质，也是挺无效的。对话是被打胎药打出来的－恰似必不可少的蒸汽。
Rediscover life again. The joy of great things. The taste of victory and success. And that's where you've failed, because you've given up. Because one cannot live without love and decency.
You really might be stronger than me.
他不该没有戏，他是悬而未决的，观众怎可忍受，他是观众灼热眼中的一块生肉亟待被蒸烤－直到女人已经没得可切 － 可见整个过程就像这句话一般涩而发霉。
10
雾是必需的，好让人物无中生有。一个念诗或背诗的老女人是不能露出面孔的，尤其不能露出口鼻，直到诗被背完，我们知道得更少了，老女人诗伞下得一阵风，狗群也是幻觉的狗群。
11
吊索是工厂的吊索，是铁路的吊索，是民宅的吊索－是完全的一条声轨。
女人的男性的，男人的女性的，裸体是锐角的，咀嚼是愁苦而漫长的，远方也是等待咀嚼的。
12
纵横是双移，人总是从右边向着左边走去，歌声是从底处滋生的，也是在底层游荡、在底层走远的，雕塑的某个角度是活人，活人的影像在任何角度都是此人的坟墓，三个没有交集的人之间有着被放大了的共鸣。
13
When you looked at me yesterday, I realized something. I realized that between you and a world forever out of reach, there is a strange and empty tunnel. You are standing alone at the entrance to the tunnel, because you know something I can't even put a name on. Something deeper and more ruthless that i can ever understand. Because it is something behind the light and warmth that I cannot bear. I have been able neither to believe in it nor to renounce it. If I were to lose you, it would be the unforgivable end of me, because I know nothing about that unnameable world. You mean that world to me. Kick me, spit at me, and I'll return again and again. You are ruthlessly right.
性爱是极地的，是对抗噪音的，是比任何其他时刻都更零度的。世上最绝望的交媾，最尊严的爱－从沉痛底层爱着轻盈高处，凭着一条比高处更轻的灵魂。
女人是虚构的，不比男人更真实，但男人却是近在眼前的、高还原度的，因此男人是诅咒。
14
I sit by the window and look out completely in vain. For years and years I've been sitting here and something always tells me that i will go mad the next moment. But i don't go mad the next moment, and i have no fear of going mad, because fear of madness would mean that i'd have to cling to something, yet i don't cling to anything. ..To look at the hopelessness of things. ..They want this irreversibility of things to drive me mad, but the next second they want me not to go mad.
这个男人对前妻的问题就是我少时对母亲的问题－他被自己的悟力智力俘虏了
that frail body had so much blood in it.
他是罪恶的，但正是这个判定才能使他欣慰，使他向前，使他流动，使诸事围绕着他得以发生，时间关于他得以生效，关系对于他得以成形。被他爱上意味着这件事已经与你无关，这件关于爱情的事已经结束，他爱的是他得以放松的缺口，你是他这口湖的缺口。
事到此时，整部电影的架构都被翻牌了，被一种深邃的痛苦翻牌，成了伪架构，伪命题，伪效果，伪叙述，伪情绪，伪动作……男人再说什么都变成了戏剧，女人地陪衬更加荒唐，戏剧中戏剧性的戏剧－真相成分少于70%的谎言，是无法接受的
15
白色噪音，无法识别手部动作。
16
-i am a coward. i don't even dare hope my fate will change for the better. All i do is make excuses for my cowardice through nausea.
-How about thinking of something other than yourself for once?
-Cant you understand? Ive grown old. I'm a wreck who doesn't dare do anything. Before your courage departs and your haven't the guts to do what you would have done before for the slightest chance of success.
不他的问题是，他的价值观是同一性的、生锈而温和的，以及，再一次，高还原度的。
17
瓢泼大雨中脚踩舞点的只有他 独自一人。
你也有你的怀疑，我不相信来世，因此只在天未亮前的间隙中想着你，和你即将沧桑的前额上的尘埃。
18
老女人此时变得世俗，不再像柏林苍穹下的其中一只天使。伪架构试图为自己寻找立足点，但是
it is flying
伪架构是伪的，它自身本来就不知道这里是哪里，那里是哪里
19
在他人以及由他人组成的人群的欢歌笑语中，去警察局坦白忏悔的只有他独自一人。
Believe me, there is nothing worse in a man's life than when he realizes that those he loves, those he feels are friends, when suddenly it turns out, that they are on a fatal path and cannot find the proper way again.
20
也许是忏悔之后的原因，狗得以愿意施舍与他，雨中共舞吠。
不毛之地是泥泞的，泥泞是终极的，男人走过，走过去的是埋葬了的，也是人之虚幻。
