过境

柏林18主竞赛 “柏林学派”新任主将佩措尔德在 温蒂尼 之前的一部作品。影调诱人，葆拉贝尔诱人，叙事复杂，有门槛却因此更具魅力。 全篇两个亮点——杜拉斯文学叙事遗风和二战当代时空转换。 先谈杜拉斯的继承问题，这显然并非原先“柏林学派”的主张，更像是佩措尔德在面对高难度影像化文本时做出的被迫选择。但他意外做的很好，故有优有劣。其在叙事中让旁白文本快影像以及情绪地率先流出很有创新的味道，但过度清晰的情感概述还是少了后作 温蒂尼 的神秘效果，不善。 至于这个地点转化现在看来更多是讽刺和反思效果，属于“柏林学派”政治性强的正常范围。但不得不说想法是真的新奇，古装剧以后建议不用穿越直接拍效果更佳。 但这个片子更大的处理还是在政治影片和情感影片之间暧昧不清的呈现上。属于是一会儿主旋律一会 温蒂尼 。但是说实在本片情绪地感染力倒不比 温蒂尼 差，反倒最终一出的幽灵再再显很玩味——主角借女主已死老公的身份陪伴女主，死后的女主却又来到咖啡厅。 影片文学性很强，很多内容都有两层象征性，“过境”的片名就是一例——每个人都跨的了国境却跨不了心境(政治与爱情的混杂是否是好事，是否喧宾夺主还要再论)。

大概是今年最爱的欧洲电影，

它文学性的诗化表达，以及模糊了时间事件空间的艺术手法，都让人深深沉迷。

初看，它有着葡萄牙电影《一千零一夜》的神秘和荒诞色彩，在现代时慵懒的马赛，模糊了时间与空间，上演着二战时种族隔离屠杀前夕的恐怖大逃散。

细看，才发现，所谓历史会重复上演折射当今欧洲难民问题只是它浅显的竞赛片皮囊。深入去体会，才发现这是一部弃时代不顾只关注人本身作为时代洪流下微不足道个体的电影。

它发出了三段式的诘问：我是谁，我在哪儿，我又将去向何方……

剧中每个人都在迷失的身份中，徒劳地寻找着对自身的终极定位。

一趟驶向未知旅途的火车，一艘永远无法抵达dream land 的邮轮，人头攒动的大使馆，人们为一张船票一纸签证奔忙，每个人都在慌张地奔向未知的目的地。

这种个体关于身份的巨大迷失感，是非常令人绝望的，女主角试着用抛弃与被抛弃的关系来找出自己是谁的答案，却依然很枉然，因为最终她都不知道到底是什么抛弃了自己，她又抛弃了什么，才如此迷失于现在时。

还是这个反复折磨我的问题，在这世间，你我都拥有多重身份，是子女，是父母，是丈夫或妻子，是雇主或雇员……在一轮轮对身份的洗刷中，却遗忘了我是谁，脱离这一切外界赋予的道德和社会的身份，我到底是谁，这个问题，还真是一时回答不上来啊。

The final chapter of Christian Petzold’s “Love in Times of Oppressive Systems” trilogy, after BARBARA (2012) and PHOENIX (2014), both scripted by Petzold and the late German filmmaker/critic Harun Farocki (1944-2014), TRANSIT is an adaptation of Anna Seghers’ Nazi-escaping novel and has a daring conceit that challenges the status quo of cinematic transposition.

On the face of it, the befogging disjunction between its narrative and temporality (an unspecified contemporary context) persists throughout the whole story, our protagonist is Georg (Rogowski), a young German refugee in France, who flees from Paris to Marseille, assumes the identity of a deceased writer of certain cachet, whose recent suicide hasn’t yet been circulated, to secure a ticket to embark on an ocean-liner, destination Mexico. But in Marseille, he meets the dead writer’s wife Marie (Beer), who relentlessly looks for her husband. Georg falls for her and also manages to get her a ticket without revealing his ulterior scheme, but their quirk of fate is far crueler than the truth itself.

Right out the box, audience will be fully aware that the story is not set in WWII but current times, Georg is obviously not running away from Nazis (reckoning that he gets the wind of Germans are coming), and a double take suggests he ought to be an illegal immigrant who tries to lay low and pulls out all stops to leave the Continent. However, curiously and diligently Petzold effaces any trace of modern-day trappings (no cellphone, television, or computer, signs of today’s technology), what we are granted to see in lieu are manuscripts, trains, a flashlight, footballs, a broken radio, nondescript hotel rooms, ocean liners, taxis, embassies, etc., all have been well existed in the WWII period, as if he conspiratorially intimates that what we see is actually what happened during that time, only, in the film, those things are presented in an unmistakable milieu of our reality. Which makes one wonder, is this a new approach of re-imagination? Faithfully complying with the source material’s time-line and story, then put it under the life as we know it without upgrading all its paraphernalia, only subtracting any anachronistic items, therefore, the plot doubly serves as a paralleled allegory, past horror is not so far from being repeated, time and again.

Relative to its innovative and sagacious leitmotif, Petzold’s narratological disposition is unfortunately less impressive (abruptly killing off secondary characters for the shocking effect is blasé), dutifully crossing the t’s and dotting the i’s of the monotonous dilemma (a tentative father figure fell by the wayside in a transient sojourn, and an eleventh hour cop-out that becomes a blessing in disguise), although Franz Rogowski comports himself particularly striking with a searing dignity and a tormented reluctance written all over his face, and Paula Beer, often exudes an entrancing restraint and sophistication that is so incongruous with her tender age, comes into her own in the latter stage of the story with a difference, whose seesawing allegiance between three men, her husband, Georg and Richard (Giese), a doctor of her fallback position, keeps us dangling in a heartbeat. Even without a mind-blowing cadenza like he did in PHOENIX, to induce frisson, nonetheless, Petzold infuses TRANSIT with a melodramatic poignancy that stoutly holds its own concomitant with its allegorical connotation and metaphorical expression.

referential entries: Petzold’s BARBARA (2012, 7.0/10), PHOENIX (2014, 7.8/10).

杰作，电影中的自由间接语,欧洲难民题材竞能与二战纳粹历史相互穿越互文,这部电影太恐怖了。大师之作,绕树三匝,无枝可依!杰作，电影中的自由间接语,欧洲难民题材竞能与二战纳粹历史相互穿越互文,这部电影太恐怖了。大师之作,绕树三匝,无枝可依!杰作，电影中的自由间接语,欧洲难民题材竞能与二战纳粹历史相互穿越互文,这部电影太恐怖了。大师之作,绕树三匝,无枝可依!杰作，电影中的自由间接语,欧洲难民题材竞能与二战纳粹历史相互穿越互文,这部电影太恐怖了。大师之作,绕树三匝,无枝可依!杰作，电影中的自由间接语,欧洲难民题材竞能与二战纳粹历史相互穿越互文,这部电影太恐怖了。大师之作,绕树三匝,无枝可依!

05/17/2020. Timelessness. The presence and absence of the time. 在时间之外、在虚无里逡巡；也如同行在日光之下尘世之上的无间道。

Almost otherworldly. Strikingly intimate, immersive, and mesmerizing. Spontaneous and grounded in every aspect.

Pure embodiment of the characters. His rootlessness and her restlessness. (Does love ground you and bring you back to the “living”? Does it give you a path to take?) Franz自身独特的质地带给了角色微妙的温度、流动性、与隐秘感。Paula Beer也十分鲜活、复杂、迷人，如活在你漫长的错觉里。Both of them are beautifully present, true, and nuanced. Loved the breath-giving, open giving-receiving between them.

作者与作品之间的疏离感。作者性的纯粹，作者却隐而不现。

二战故事设定在当下环境所产生的时间歧义性牵引着观影心理不断在占领时期犹太人惊心动魄逃亡史和今日中东难民遭遇间摇摆；但佩措尔德仍太执着呈现完整狂想曲，这种情节上曲折性削弱了设定含混性带来的文本想象乐趣。但在这个情节剧被普遍贬低为狗血电视剧的时代里，这份坚持或许是反审美潮流，但潮流永远是短暂的狭隘的哗众取宠的，佩措尔德却更可贵地在延续着一种伟大的类型传统。