死亡论文

从开头地铁站卧轨事件，导演在整个惊悚恐怖气氛的节奏的调控上展现了卓绝功力。抓人眼球 一下被快速吸引进入主题。电影学院校园题材惊悚片，在学校、卧室场景里能看见电影海报，以及教授振奋人心的演讲，某一些方面我想应该也是向伟大电影致敬。

无疑，女主角安吉拉是一个颇有想法且有好奇心的典型电影系学生，从开篇地铁卧轨事件极力撇过脸想看清楚事发场景，到因为写论文研究“视听暴力”认识的切玛，到紧接着进入视线的博斯克。两个男人都带着一定危险性，谁都有嫌疑谁都无法真正信任。

1. 博斯克的出现，印证了一句话“越美丽的东西越不可碰”，又危险又诱惑。安吉拉的一场梦很明显的暗示着，她被博斯克吸引但又抗拒的矛盾心理。安吉拉本身就是一个非常矛盾的人，反对暴力但又抑制不住内心对暴力的窥视欲望。

2. 在黑暗库房断电之后，一片漆黑中，切玛讲了公主与侏儒的故事，不断点亮一根根熄灭的火柴，和安吉拉摸索着逃生的路，在狭长的隧道空间营造的压抑与危险感，同时与在摇曳火光的映衬与切玛低沉的讲述声中叠合成一种别样的梦幻。只不过安吉拉在黑暗中对切玛说“我怕你不再是你”，是啊，毕竟没有人能够相信真正信任的只有你自己。

3. 影片最后，连环杀人案件被新闻铺天盖地报道，最后禁忌的虐杀录像带在光天化日之下被当众暴露出来，人们都对此充满期待，一方面惧怕暴力所带来的视觉侵害，但另一方面又抑制不住内心对暴力的窥视欲望。很快暴力会在普通人中生根发芽，你我都可能是当代各种暴力的反对者、需求者、参与者。

且不说剧情本身格局是否太小，是否有bug，总之看完最深的感触是以后要告诫自己不要太好奇！女主家境很好，一直在上学，连社会经验都没有，更接触不到真正的社会阴暗面，想象不出自己会面对什么，也无法识别自己能否为自己的行为负责任的，她是典型的不安分，过于自信，叶公好龙，不见棺材不掉泪。

好奇心很难抵挡，女主的一些心态可能有很多人能理解，但会不会采取行动因人而异。比如路上有交通事故，警察说很可怕，女主就很想去看，但如果换成我是绝对不会看的，因为我想象的出那是什么场景，能判断自己完全不想看。但如果在一个案发现场，没有人知道我在那，我也会很想拿现场的影像资料或者破案线索偷偷看下（至少有这个念头），但必须要确定不会产生恶果（比如破坏案发现场被追责，或被坏人灭口），可惜现在很难做到不产生后果，如何确定没有摄像头，没有指纹之类痕迹呢？那我肯定还是报警了，主要是由于社会经验丰富后见多识广而被现实束缚，如果是个年轻天真的，很可能好奇心就占据上风，知道一个别人都不知道的大秘密，是很大的快感，如果是像女主这样有点自命清高的，觉得自己脑子不错，碰到这样的机会就想当令和时代的名侦探了，要自己偷偷调查一把，过一把瘾。

所以之后女主一害怕就傻的很，只知道逃，没事自己吓自己，这是普通人面对危险很正常的反应，普通人想象中自己英明神武，但一碰到真的危险就会六神无主了，所以平时一定要记得，不要没事逞英雄！说好奇心害死人，其实天真也很致命，女主送上门去真正的变态bosco的家，个人感觉因为bosco家境也很好，和她家是差不多的中产阶级，她始终无法切实相信同阶级从小接触信任的人里有人是真正的变态，碰上那个bosco也算是变态里的公子哥，感觉他很轻视自己的猎物，仗着自己魅力，只敢欺凌女孩，也没碰到过什么强敌，所以随便束缚了下女主，枪也随便放，最后被女主凭本事反杀，所以也别说女主作死了，有本事反杀大boss那怎么作都可以吧。。。

Spanish filmmaker Alejandro Amenábar’s feature debut, a juvenilia made when he was only 23, THESIS robustly probes an ordinary person’s often latent ghoulish proclivity, and dexterously twins it with his/her suppressed sexuality, after all, Freud will second, death and sex, a dyad that forever fascinates us (thinking about la petite mort) until we kick the bucket.

Angela (Torrent), a university student studying cinema in Madrid, is preparing her thesis on today’s pervasive audiovisual violence and its influence, after her professor Figueroa (Picazo) apparently dies from asthma while watching a mysterious tape he filches from a hidden chamber in the college’ video library, Angela secretly snatches the tape and then brings it to fellow student Chema (Martínez in his feature film debut, plumb unrecognizable from Almodóvar’s BAD EDUCATION, 2004), what is on the tape is actually a snuff film, showing a man wearing a balaclava mask torturing and then killing a pinioned young woman, whom Chema identifies as Vanessa, a student who vanishes two years earlier and has never been found since.

Playing detectives to get to the bottom of the heinous crime, Angela and Chema make an unlikely pair, soon clues lead to a potential suspect Bosco (Noreiga, a real corker in oozing irresistible sinisterness out of his pretty-boy persona), a student who is in possess of the same model of the camera that shoots the said film. But much to Chema’s displeasure, while bird-dogging Bosco, Angela also develops a feeling for him despite herself, exculpating him, even wallowing in a masochistic fantasy in which sex and death are just one step after another.

Although purporting an academic reason to delve into imagery of extreme brutality, Angela, a self-claimed violence naysayer, is like most of us, cannot resist the temptation of its abnormal beckoning, rightly foreshadowed by the opening scene of an accident in the metro station. More often than not, one’s mounting curiosity outstrips ingrown revulsion, from firstly darkening the image to leave only its spine-tingling sound to be heard, to taking a tantalized quick glance of its gruesome content from the chinks of her fingers, until imagining herself being held under the same dire plight (but with carnal gratification), Angela’s gradual recapitulation to it charts an eloquent process of our primeval capacity of assimilation and eroticizing anything that can arouse our libido, ergo, justifies the perverse market of snuff films, like professor Jorge Castro (Elorriaga) exhorts: filmmaker should always give what the audience wants.

Shot in a flyweight budget apparently crimps the narrative complexity, besides two unremarkable red herrings (an evil professor, a jealous ex-girlfriend), this whodunit entirely oscillates between incriminating either Chema or Bosco, two young men who either openly or covertly battle for Angela’s affection, one is a nerdy ghoul, who also turns out to be a stalker, another a personable charmer who sweeps her off her feet at their first sight, her choice is not difficult to divine, predictably, a wrong move will once again, imperil her to the same fate of Vanessa, and the final twist is fairly well-worn.

Ana Torrent, the young protagonist in Carlos Saura’s RAISE RAVENS (1976) and Victor Erice’s THE SPIRIT OF THE BEEHIVE (1973), seizes on a rare leading role when transitioning into a full-fledged grownup, provides a poised impression characterized by either rational brusqueness or irrational obduracy, potently boosting Amenábar’s strikingly entertaining fare that shored up by his top-line acumen and snazzy craft.

referential entries: Amenábar’s OPEN YOUR EYES (1997, 7.9/10), THE SEA INSIDE (2004, 8.3/10), AGORA (2009, 6.2/10).

短评写长了……

我不能理解为什么很多人都骂女主角白痴说她影响了影片的星级？其实她才是这电影唯一的主角，她就是大众的代表，她害怕暴力却又对暴力充满窥探欲，这种欲望强过了恐惧，所以很多惊悚的时刻她表现得不正常的镇静。但有一处她恢复了正常——在漆黑的地下室狭长的廊道中，这时的她为什么一反常态的害怕呢？我觉得这是值得推敲的，此时她害怕的应该只是黑，是对不可测的处境或者说是对未知的恐惧，而与已知的暴力相比，显然黑暗更让人感到害怕，我们难道不如此吗？所以女主角的心理就是大众的心理。我们的天使美男其实一出场就散发着危险信号，只是他太具魅惑，大家就对他放松了警惕，甚至希望他真的是个好人，这里同样反映了普遍的人性。眼镜男显然了解许多内幕，但是他究竟参与了多少呢影片好像并未明确说明，我倾向于相信他是遇到女主角后那颗充满暴力的坏心肠变柔软变好了。他那个童话故事不是随便说说的，最后女主角送给他那本童话故事书也是别有深意的。她肯定都知道了，也谅解了。这个结尾我觉得很好，整部电影很棒。