而且我誓言要看第二遍,必須要刺穿諾蘭的面紗。而在《敦刻尔克》裡,他把人物各自最應有的念頭送給了人物本身,僅僅搞好“天主之手”的配角、減少人物所處世界的變數,這是諾蘭的收斂。他不再賦予人物以超越凡俗的神化心智與內心深處,而是容許配角出於求生造成非理性行為,這是諾蘭對人之心理的體悟。所謂“諾吹”就是每逢愛爾蘭編劇約翰·諾蘭拍出一部新劇,就會對其大加青睞的粉絲。在...
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