吞咽

评论太可怕，喜欢剧情跌宕起伏险象环生的电影，请携家带口去看贺岁档大电影。这部片子从画面、节奏、演技、配乐哪一点都足以原谅剧情的不足吧。这么低分实在可悲。女主炸裂的演技，让我迫不及待的想看她黑化进行报复，但后半段女主选择放下，说明女主心中还是一直抱有对生的希望，从女主之前养花，布置家可以看出女主是一个内心充满希望的人。

也许只有能感同身受的人才能静心看完电影吧。能看到很多和自己相像的地方，原生家庭没有正常的爱，结婚后老公疏于关心，公婆漠不关心，他们在乎的只是肚子里的孙子，反复的刺激，终于导致了我的抑郁，女主是异食癖。女主只有通过吞咽这些尖锐的物体，感受到痛从而感受到活着的感觉，因为在别人眼中，她一点都不重要，但是她在她自己感受中，是真实存在的能感受到痛的，她并不是没有感情的动物。就像开场白那几只弱小的无助的白绵羊那样任人宰割。“高攀是要吞针的”。女主在周围人每次刺激她时，都会病情变得严重。刚开始从叙利亚来的保姆理解不了女主，觉得她只是矫情，到后来红着眼眶帮助女主逃走，可是女主的老公和公婆在女主不要去精神病院并在她出发的时候要求她交出结婚戒指和手表，也就是女主老公和公婆对于女主的关心和关切，连一个保姆都不如。她周围任何一个人如果与她的沟通能够带有爱，带有安慰善意和关心，她都会好转，可是一个都没有。在变得越来越严重的边缘，连她的妈妈都说地方不够，她不方便过来同住一段时间，她崩溃了。幸而最后她找到亲生父亲，亲口告诉她，她与他不同，她什么都没错，他没有因为她而感到羞耻，她终于被这次谈话救赎了，是的，她其实不难满足，然而身边的人都满足不了她如此小的需求。她终于看清一切，与她妈妈选择生下她不同，她选择堕胎，她想重新开始生活。最后她在厕所一个人忍受了自己选择所带来的疼痛之后，扎着清爽干净利落的头发，背着书包，对着镜子微笑，走去人群，开始她自己做主的生活。

剧情简介的“黑暗秘密”简直就是BULL SHIT！完全误导人

片中的女主在我看来挺让人讨厌的 害人害己 可怜又可恨

男主一家对她的不尊重让她去做一些不可理喻的事来体现自我价值 前半段每当她表达自己想法说些什么的时候 老公及全家要么没好好听要么直接打断 真的很不尊重人 让人很有挫败感 这点我深有同感 而且不止一次 不被尊重的感觉真的很糟糕我只能说 所以她才做些偏激的事吧 想引起别人的注意 想成为焦点 想被人看重 想找到自己的价值感存在感 不想被人当做空气不被在意 我真的太有同感了 只是我不会做伤害自己偏激的事。

另外 我挺喜欢这种细节感放大的拍摄手法的 类似《福斯特医生》 我很喜欢这部英剧 比这部电影好看 只是电影够简短 一个多小时就能诉说一段话 一个故事 一个含义。

电影三星 因很有同感故多加一星

刷微博看到了这部异食癖患者的精神世界《吞咽》

小手飞快地找到了资源

咋说呢 中规中矩 基本没有快进 就想看看她都吃了点啥 小朋友们不要看 生理上会引起极大不适 不要学习

剧情啊 虽说是在男权一味控制下女主不得不找点方式舒压 可干点啥不好 非要吞咽点奇奇怪怪的东西 最后又拐到了原生家庭童年阴影 感觉有点脱节 后半段有点垮掉了 但女主的颜和画面色彩还是🉑️以的！！！

Two 2019 feature debuts from aspiring filmmakers that hold fast our zeitgeist by putting a female character in the dead center. Kitty Green’s THE ASSISTANT is exclusively lensed from our titular heroine’s perspective to cast a startling light on a salient social issue in the wake of the notorious Weinstein effect; meanwhile, Carlo Mirabella-Davis’ SWALLOW, doggedly builds up a reductive dissection of a young, gravid bride’s eerie disintegration, by dint of uncomfortable body horror tropes to reify her pica affliction.

Adhering to her technique developed as a documentarian, Green adopts an uncharacteristic angle to tackle her unsavory subject matter. In THE ASSISTANT, Garner plays Jane, a junior assistant in an unspecified NYC film production company, and the film takes place during her overlong working hours on a hectic Monday. We watch her being picked up by a limousine to work long before daybreak, and follow her in clerical drudgery, see the big shots from her peripheral vision and hear things only within her earshot. By doing that, Green risks narrative clarity and leaves the scandalous skinny in connotation or off-screen, consequently the film rather invites an immediate revisit to suss the implications of every casual dialogue and throwaway joke, and for better to piece together what is going on.

Green’s strategy, not audience-friendly, but totally chimes in with Jane’s grunt-level existence in the company, but felicitously, do we really need to see those sordid goings-on with our own eyes? We shall all be thankful to Green for being so considerate in her approach, because such a canker, condoned systemically by the industry and beyond is better limned as this immaterial, omnipresent force of vileness, penetrating every couch and behind every closed doors in every office and hotel room, it is everywhere therefore it must be put paid to.

Carrying the entire film on her slender shoulders, Garner exhibits strenuous stamina and restrained body language as the doormat (Jane is a sponge absorbent of the negative outpourings of the boss’ wife) and the dogsbody (she is virtually invisible in front of her superiors and other colleagues), even the two male assistants callously exploit her newness (only being there for 5 weeks), or maybe also because she is a she, and let her bear the brunt of blame and verbal abuse. Yet, in her position, she has no right to say otherwise.

Jane aspires to be a producer, and she knows all too well that she must pay her dues and turn a blind eye on the seedy matters, if she wants to make it. But on the off chance when that actually happens, she will have already become one of the silent connivers in that toxic working environment (implied by the unseen boss’s sinister motivation). Moreover, she should considered herself lucky, according to the head of Human Resources (Macfadyen), simply because “you are not his type”, it’s all so reassuring! Macfadyen has that peculiar air of faux-earnestness, mixed with veiled hubris, to express the warped normalcy as if it is the most commonplace words to utter, whereas Garner is so utterly disconcerted and anguished in her botched worm-will-turn rebel, their exchange is the crescendo of this gritty film.

Incredibly, THE ASSISTANT plays up the working place’s drabness, impersonality and functional symmetry to keep us absorbed with its coded message. However, SWALLOW is so stunning on the eye level, the young couple, Hunter and Richie Conrad (Bennett and Stowell) are gorgeous, their affluent, minimalistic upstate NYC residence with a killer view, is often filtered through prismatic hues to emphasize the magic power of money.

But what happens inside is far less majestic, Hunter, hailed from a lower class, is maladaptive to her new ascendancy as the cinderella, who has a bun in the oven and develops an anomalous appetite for inedible things (including some small sharp objects, those swallow scenes are fastidiously arranged, and not for the squeamish). Does she subconsciously want to lose the baby? and why is that? A thought never occurs to our prince charm Richie, instead, his family hires a burly minder Luay (Nakli), a Syrian immigrant, to keep an eye on her minute by minute to forestall any self-inflict harm, solely for the safety of their precious progeny.

If the plot is piled up with unmitigated clichés (cruel, senseless rich people, good-hearted immigrants, a fable of perfect family of origin, the psychological manipulation of negging and nonpology, the list goes on and on…) and Mirabella-Davis might be a lousy fabulist, what gives vitality to SWALLOW, besides Katelin Arizmendi’s stylish cinematography, is Bennett’s metamorphic performance. A frail flower distressed by her parentage (the cat will be let out of the bag later) and conjugal negligence, Bennett, who looks like a poor girl’s Jennifer Lawrence, grandly inhabits Hunter’s compulsion, disorientation and exasperation with such astonishing finesses, one cannot take eyes off her. Even when we cannot relate to Hunter’s weird condition, we are compulsively intrigued by Bennett’s nuanced delivery and delicate mannerism, hoping some deus ex machina can materialize to save her.

Eventually, Mirabella-Davis grants Hunter a touching closure (Denis O’Hare’s brilliant cameo is exactly what the doctor ordered, he can proficiently pull off a complicated emotional range in meager minutes, though on paper, the reconciliation is still a mawkish cliché) and the final shot statically looking at a lady’s room with people come and go writ large the film's emboldened stance: pro-life and pro-woman.

When all is said and done, both THE ASSISTANT and SWALLOW are promising works well wrought by their emergent creators, together, they paint a vivid picture of the wrongs (in the working place or in one’s own home) inflicted upon women by faulty, haughty, selfish men, but they are not just reproachful to the stronger sex, their artistry underlies more hope in women’s resilience, Jane might walk the plank the next day, she can at least have peace with herself and knows better of her goals, as for Hunter, starts anew and puts aside a failed marriage, together with her psychogenic malady, scrumptious comestibles are beckoning and cinderella can get stuffed!

referential entries: Darren Aronofsky’s MOTHER! (2017, 6.6/10); Cory Finley’s THOROUGHBRED (2017, 6.5/10); Leigh Whannell’s THE INVISIBLE MAN (2020, 6.9/10).

Title: The Assistant

Year: 2019

Country: USA

Language: English, Mandarin

Genre: Drama

Director/Screenwriter: Kitty Green

Music: Tamar-kali

Cinematography: Michael Latham

Editing: Kitty Green, Blair McClendon

Cast:

Julia Garner

Matthew Macfadyen

Noah Robbins

Jon Orsini

Kristine Froseth

Dagmara Dominczyk

Alexander Chaplin

Purva Bedi

Juliana Canfield

Makenzie Leigh

Patrick Wilson

Rating: 7.4/10

Title: Swallow

Year: 2019

Country: USA, France

Language: English, Arabic

Genre: Drama, Mystery

Director/Screenwriter: Carlo Mirabella-Davis

Music: Nathan Halpern

Cinematography: Katelin Arizmendi

Editing: Joe Murphy

Cast:

Haley Bennett

Austin Stowell

Elizabeth Marvel

David Rasche

Denis O’Hare

Luna Lauren Velez

Laith Nakli

Babak Tafti

Zabryna Guevara

Rating: 6.9/10

不幸的身世使得Hunt一直在寻找我是谁，认定我是被社会抛弃的孩子。遇到了“完美”先生所获得的一切，劝解自己“我应该很幸福”，但这样的生活越发使得她脱离安全感，如何使得丈夫爱她，如何不犯错，强大的自卑和缺乏安全感折磨着她。直到发现了“吞咽异物”所带来的安全感，当冰冷尖锐的金属触碰舌头时带来的强大结合感，让她瞬时感受到“被拥抱”“真实存在感”以及隐含的“无所不能”，以及“控制欲”。那一瞬的快感让她保持一天很好的自我存在感和安全感。最后在与生父的探讨“找寻自我”中真正地释放了自己。有人批评了最后女厕所的镜头，我却觉得非常好，最后她还是回到了属于她的世界，一个平凡的阶层，一个并没有那么体面的场合，她只是芸芸众生中不起眼的女孩。