A / 將耳朵鋪滿肌膚就是“外在”修飾嗎,取出臟器就是“內(nèi)在”藝術嗎?影片試圖抵達的恰恰是:身體之為“現(xiàn)實”,反而在于它是一種無內(nèi)外之分的超離于精神的深度/平面;要控制身體,便在于給出其空間分配的敘述。因此要用進食器引導不同器官的運動,要用腹部的拉鏈來標記其隧洞的入口,要把器官編目為科學合法的展示品,要把手術變成一種所謂內(nèi)向“探索”……但生命的邏輯并非如此,它透過身體的在場無條件地宣示它自身,正如開頭:孩童舀起泥石、啃食塑料如擺弄玩具。因此孩童不可逆的死亡標記了解剖-表演邏輯的盡頭,它必然重新陷入被諸多權力所爭奪的內(nèi)外劃界敘述。這恰恰是結尾未來圣女貞德之面容的堅定宣言:一滴淚所凝縮的身體之深度與粗糲黑白影像平面的合一——而這個鏡頭外的柯南伯格影像對觀眾的身體所鐫刻的,又何嘗不是如此?
深奧的簡潔;Living on a wall where everything is so simple for 19 days. we were going to miss this experience. 這電影和和#有熊谷守在的地方#一脈相承異曲同工心意相通,一個極靜,一個極動,一個方寸之間,一個縫隙之處,行行出狀元,各行業(yè)最頂尖的心性都是藝術,最高的藝術境界意味著每個人只能以自己特有的方式全身心的投入:Focus and objective, breathe and practice, dream big and do small. Somebody less gracious than Tommy Cidwoll might have said, "I've got to go on without you". but he was committed to Kevin" we're doing this together" . And he wouldn't have been Tommy if he'd done it any other way. You have to do in your own way. you have to live in your own way. This is it, this makes you special.