《软禁2021》延续了小阿列克谢·日耳曼一贯的沉浸式作者笔触,镜头紧贴角色移动,以大量浅焦跟拍和自然光效将观众锁进狭小空间的时间褶皱里。如果你对个体尊严在权力机器下的挣扎这类题材感兴趣,并且能接受慢节奏、重细节的现实主义叙事,这部片子会是你茶余饭后沉下心来的好选择。梅拉布·尼尼泽用近乎零度的表情演活了一个体制内知识分子的精神塌缩,而安娜·米哈尔科娃在厨房里那场无声的崩溃戏,仅靠手部颤抖和呼吸频率便将婚姻关系的异化暴露无遗。梅拉布·尼尼泽饰演的主角在沉默与爆发间反复拉扯,他眼底的疲惫与肢体上的细微颤抖,比任何台词都更具说服力。影片在结构上摈弃了传统三幕式,转而用碎片化的日常对白和突如其来的电话铃声来推动悬疑,使得“软禁”这一状态的荒谬性逐渐渗透进每一个生活细节。影片不提供任何戏剧化冲突,而是让荒诞从日常规训的裂缝中悄然渗出。 David, a university professor, takes to social media to criticize his city’s administration. But instead of the mayor’s dodgy dealings being investigated, David is himself accused of embezzlement and placed under house arrest. Despite the overbearing surveillance, double-crossing acquaintances, and growing media interest, David remains defiant and will not apologise. With the court case drawing ever nearer, does David have any hope of winning this battle against Goliath?