James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?
全员演技爆发,尤其是那场对峙戏太绝了。
情绪渲染力极强,全程心都被揪着。
《美利坚合众国》可太精彩了。前部分就爆了,好爽。节奏很好,有反转感,不错。期待导演詹姆斯·班宁后续给力点,多拍点这种片子。
台词句句扎心,忍不住反复品味。
代入感超强,感觉自己就在故事现场。
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