野马 The Mustang7.3

影迷热议

• 来自网友【他他】的评论A redemption tale inspired by an actual inmate rehabilitation program in Carson City, Nevada, THE MUSTANG is surprisingly directed by the French actress-turned-director Laure de Clermont-Tonnerre as her debut feature. Complying with recent precedents, such as Chloé Zhao’s THE RIDER (2017) and Jacques Audiard’s THE SISTER BROTHERS (2018), which indicate that an outsider’s status can substantively put a refreshing perspective on the tired legacy of America’s vast western, THE MUSTANG is a fascinating study of the analogy between a shut-in inmate and an unbroken horse. Roman Colman (Schoenaerts), having spent 12 years in incarceration, seems having no hankering for freedom, and newly joins the aforementioned program, he is tasked with training an untamable mustang which he names Marquis, to ensure it can be sold at the auction a few weeks after. Clermont-Tonnerre shows up a natural deftness in keeping up with the horse’s movements and reactions (Marquis and the horse wranglers are equally laudable), as well as a discerning eye for the natural pulchritude, particularly in the opening sequences, grand aerial shots of a herd of wild mustangs rounded up by buzzing helicopters hovering across the plain, their constrained fate is consequentially likened with the freedom-deprived convicts, and Marquis’ unbroken nature chimes in organically with Roman’s obstinacy and penitence. In the dead center, Schoenaerts returns to the top form in Roman’s bulky physique and withdrawn temperament, whose major crime will only be divulged in a heartstring-tugging confession with his gravid daughter Martha (Adlon). Elsewhere, he subsists studiously of Roman’s baby steps of re-connecting with another being with an emphatic urge of suppressing his violent predisposition, limned tenderly, intimately and patiently through his interaction with the feral Marquis. Granted that the human-horse dynamism is the meat of the film’s quiet strength, other human performers are considerably allotted less fodder to chew, Bruce Dern is sprightly and rough-hewn as the cantankerous ranger Myles, yet it turns out that his bark is much worse than his bite. But in the case of Jason Mitchell’s Henry, a skilled black trainer/inmate who befriends and counsels Roman about “how to tame the unbroken”, THE MUSTANG looks retrograde to, time and again, subject him as an agency of tragedy, especially in the woke era, it does raise one’s eyebrows, indeed, the whole ketamine smuggling episode feels fairly detached and stilted as a whole.Fortunately, on the strength of Clermont-Tonnerre’s poetic touch and sober containment of dramatization, as well as Schoenaerts’ tour-de-force, THE MUSTANG sustains its momentum right through the homestretch, singing a hymn to untamed souls that harks back to the origin of Hollywood oaters. referential entries: Chloé Zhao’s THE RIDER (2017, 8.1/10); Jacques Audiard’s THE SISTER BROTHERS (2018, 7.8/10); Michael R. Roskam’s BULLHEAD (2011, 7.8/10).
• 来自网友【夏芃】的评论人类因有语言系统而成为人类，动物因无人类的这种语言系统而“听见”了人类。这部2019年上映的影片呈现了一个架空在速度时空与过去很慢的时空里的独立时空：人从自然（动物）那里获得重启的治愈力量，再返回到人类社会之后。。。他与它之间是“有光”似的看见——今天看完了这部影片《野马》（2019年），它留存在“想看”里已经挺长时间了，它是一部光影很美的片子：一个冷酷的暴力罪犯者参与了一项监狱的心理干预计划（现实角度看，我们不会对人性有过高期望，但是我们保有希望）。他需要去驯服一匹非常烈性的野马，在与野马的相遇（建立关系）中，他似乎在看见自己。影片的拍摄方式十分细腻与温柔，也美化了单人囚房的那扇十分狭窄的窗户（当橙黄光线透过时，仿佛上帝之窗被打开）。而罪犯男主人公与野马的眼神对望瞬间让我联想起这段话——“看到关系，而非事件；把世界看成一个整体，用心灵清晰而直接地感知想要的信息。我们内在拥有越多的清明 ，就越能看到周遭世界的精微特质。看见（see）比看（look）隐含了更深刻的感知。”——《脉轮全书》“Wheels of Life 罪犯有一句台词：“我不会和人打交道”。其实多少都有一些群体式心理，我们有多少人是真正擅长与人打交道的？我们的人际关系擅长多数不外乎丛林法则里的求生欲驱动。影片即有美化也有现实性。。。。。。“直而不肆”的相处之道是需要修炼的吧。