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公园长凳、酒吧厕所、空屋废墟，纽约街头就是哈莉的家；只要一包白粉、一个针筒、一次注射，哈莉就可以上天堂。伊利亚的出现，为她无可救药的毒虫人生带来炙热光芒，然而血淋淋的窒息爱恋、无穷尽的毒品需求，耗损着两人世界，宛若急速冲向悬崖，狠狠坠地。爱与痛同源，没有模糊地带。这毁灭性的人生，唯有毒品可以证明自己存在。改编自女主角艾瑞儿荷姆斯的真实故事，导演萨弗迪兄弟在街头遇上无家可归的她，深受其戏剧化人生吸引，于是著手打造这部充满地下色彩与毒虫文化的电影。类纪录片的写实手法，古典与迷幻电音交相冲击，残酷而写实呈现一场致命爱恋。镜头从头到尾没有一丝喘息余地，被Indiewire 誉为是迷幻经典《梦之安魂曲》以来最好的一部类似题材影片。老板不知道的我 老友季演剧偶像台风1962九命刑警带枪的歌女天鹅绒金矿别告诉她冷血追击（国语版）人狼2018良知堡垒反托拉斯行动生理大叔和他的女儿SP绝交信路上人生男子游泳部 第三季水手小心神笔奇侠传烈日长虹霓虹心喜马拉雅天梯挣扎暗格里的秘密黑土地黄棉袄我爱她爱情第10课阿勇燃情追踪（国语版）夫妻丛林大战我在这里等你惊爆点多余的人沃尔特和唐杜里的圣诞节跟班×服务边城三侠李村长与马小姐国王卫队新贵公子非分熟女国语海青天女巫1922惊险之旅（原声版）一路惊惶卡拉的抉择空中监狱恋上喵星人
公园长凳、酒吧厕所、空屋废墟，纽约街头就是哈莉的家；只要一包白粉、一个针筒、一次注射，哈莉就可以上天堂。伊利亚的出现，为她无可救药的毒虫人生带来炙热光芒，然而血淋淋的窒息爱恋、无穷尽的毒品需求，耗损着两人世界，宛若急速冲向悬崖，狠狠坠地。爱与痛同源，没有模糊地带。这毁灭性的人生，唯有毒品可以证明自己存在。改编自女主角艾瑞儿荷姆斯的真实故事，导演萨弗迪兄弟在街头遇上无家可归的她，深受其戏剧化人生吸引，于是著手打造这部充满地下色彩与毒虫文化的电影。类纪录片的写实手法，古典与迷幻电音交相冲击，残酷而写实呈现一场致命爱恋。镜头从头到尾没有一丝喘息余地，被Indiewire 誉为是迷幻经典《梦之安魂曲》以来最好的一部类似题材影片。老板不知道的我 老友季演剧偶像台风1962九命刑警带枪的歌女天鹅绒金矿别告诉她冷血追击（国语版）人狼2018良知堡垒反托拉斯行动生理大叔和他的女儿SP绝交信路上人生男子游泳部 第三季水手小心神笔奇侠传烈日长虹霓虹心喜马拉雅天梯挣扎暗格里的秘密黑土地黄棉袄我爱她爱情第10课阿勇燃情追踪（国语版）夫妻丛林大战我在这里等你惊爆点多余的人沃尔特和唐杜里的圣诞节跟班×服务边城三侠李村长与马小姐国王卫队新贵公子非分熟女国语海青天女巫1922惊险之旅（原声版）一路惊惶卡拉的抉择空中监狱恋上喵星人
长篇影评
1 ) 超现实的烟花只有一瞬间的浪漫
开篇便是逐渐紧张的电子鼓点，迷幻电音融入街头流浪的生活，是一种气氛，也是一种形象化的糜烂生活般的快感和虚无。
哈莉对伊利亚说“如果我死掉，你会原谅我吗？”她便去买了五毛钱的刀片准备割腕，她爱他，哪怕为他失去生命也愿意。当鲜血喷涌而出，伊利亚还是救了哈莉。他们之间的爱情是病态的相互折磨，窒息毁灭性的存在，两个堕落虚无又厌世的人，游荡在纽约街头城市各个角落。
萨弗迪兄弟一如既往的写实风格，手持运动镜头，只不过更加成熟内敛，像是局外人般记录着哈莉与她周遭的一切的堕落、凄惨、颓废。声音元素的全程尾随是很棒的，电音从头到尾无不将紧迫、躁动、迷幻拉满，这是没有喘息的生活，唯有虚幻才有可能。
哈莉靠乞讨为生，她的生活中唯有爱和dp，当伊利亚出现，她会捡起破烂的皮衣颤颤巍巍的穿针线为之缝补，伊利亚会嫉妒而用刀片飞刺入迈克手中，在死亡边缘也是呼唤着哈莉的名字，影片有很多微妙的地方，人物的神情、嘴角的微笑……所有细节的零碎如同他们的生活一样割裂、混乱，而这其中却有着哈莉与伊利亚之间极致病态的致命爱恋，他们用生命去为爱情买单，有时候他们可悲的让人唾弃憎恶，有时候又可怜的让人心生同情。
“一开始，你是个王子，平和、安宁，对我来说你是世上最温柔的男孩，你很耐心又优雅，送了我许多礼物，我的意思是说，你介绍我认识了许多新事物，那些我以前完全不知道的世界，我内心深处最温柔的一面，以前我自己都不知道，当然也有黑暗的一面，但就算有那些黑暗，我也更了解了你，和你在一起，最终，我需要你，你让我成长真正的大人，我今天的一切都来自于你”
手机扔向天空会变成短暂美丽的烟花，像是为你散落人间的星星，在黑暗中，哪怕仅有的微光，也值得浪漫。
开往佛罗里达的客车，似乎两个相爱的注定不会在一起，他们苟延残喘地卑微活着，他们孤独的处于社会边缘，也许他们的每次相遇也如同短暂的烟花，应当饱含热烈与激情，而不是依依相偎在一起，所以，伊利亚半路下车，这不是简单意义上的哪怕虚度光阴也要和你在一起，有时，孤独是良药。最后，伊利亚意外埋葬于火焰之中，迅速而炽热，或许他成为不了绚丽多彩的烟花，但也是哈莉温暖热烈的火焰。
2 ) 烟花照亮纽约蝼蚁
《天知道》根据女主Arielle Holmes的真实经历改编，讲述吸毒成瘾的她流落纽约街头的故事。关于吸毒人群的电影有很多，本片在情节上并没有太大新意，但是它的呈现方式却极具张力，影像粗砺，配乐迷幻，写实的同时又自成风格。
Arielle Holmes饰演的Harley性格火爆，嗓音粗哑，一双失神的三白眼让人一看就怀疑是吸毒者。这样一个现实中见了会绕道走的角色，在片中却神奇地吸引观众进入她的世界，跟随她四处漂泊，喝酒、吸毒、乞讨、偷窃，还有跟反复无常的男友Ilya相爱相杀。影片没有交代任何背景，各色人物走马灯般在Harley身边出现，消失，再出现。喧嚣冷漠的都市，一群蝼蚁醉生梦死，他们是如何一步步沦落至此的？这不重要，过去将来都不重要，对蝼蚁来说，重要的只有当下——今朝有酒今朝醉，明日愁来明日愁。
全片最爱的一个镜头：Ilya把情敌Mike送给Harley的手机抢过来掷向空中，手机划过夜空，在天上绽放出一朵巨大的烟花。
那一刻，所有外在都褪去，他俩相爱着，脸上有神圣的光。
几个印象深刻的镜头：
Harley自杀被送到医院后一段4分钟的长镜头，令人焦虑的电子乐遮盖对白，气氛紧张、诡谲；
Ilya捡了件里子破了的皮衣，Harley默默揽过来，掏出针线盒，用颤抖的手开始穿针；
Harley和Mike走在纽约街头，听Mike吹牛，长焦镜头，配乐是电子德彪西；
Harley死缠烂打向Mike要到4袋粉，一次性嗨完后靠墙看着恐怖片昏昏欲睡；
结尾蜡烛倾倒，同时响起影片开头的电子乐。
3 ) drug story
Another film about junkies? That question almost inevitably follows one’s learning the subject of Josh and Benny Safdie’s New York-set drama “Heaven Knows What,” and its main implication is clear: heroin addiction is at once so limited and so overdone as a narrative premise that filmmakers approaching it need to have something new to say, or to show.
Watch Now
Unfortunately, the Safdies don’t. Their film is the latest in a long line of movies that seem to assume the milieu of addiction is justification enough for its existence. The result is a work that—like a whole sub-species of French films of the recent decades—fetishizes its own hyper-naturalistic visual style and performances (all but one by non-actors) while offering no original or striking insights into the world it portrays.
No doubt the film’s surface attractions and its core weaknesses both owe to its origins. Reportedly, the Safdies were researching a project in New York’s diamond district when they spotted a pretty young blonde who they assumed might be a Russian diamond worker. Turns out she was a heroin addict from New Jersey named Arielle Holmes who had a troubled romantic relationship with another addict named Ilya.
Fascinated by Holmes’ stories of her street life, the Safdies persuaded her to write an account of it, a manuscript that became the basis for their screenplay (co-written by Ronald Bronstein). With Holmes playing Harley, a character who apparently differs from herself in name only, the filmmakers shot in the neighborhoods she frequented using people she knew as secondary characters and hidden cameras to disguise their presence (a technique also employed in Oren Moverman’s forthcoming “Time Out of Mind,” about a New York homeless man).
The look, of course, is very close to that of a documentary, which raises the question: Why isn’t “Heaven Knows What” a documentary? If conveying the reality of junkie life was the main objective, that course might have been more productive. As in many other cases, turning real-life material into drama can produce an awkward hybrid: a film in which the reality is diluted by fictionalization, while the fiction is rendered thin and sometimes clichéd due to being shackled to its real-life origins.
So it is here. When we first see Harley, she’s in full hyperactive mode, threatening suicide to the long-haired, plainly doped-up Ilya (Caleb Landry Jones), who’s far more interested in the public computer he’s staring at. She’s so desperately in love that she wants to sacrifice her life for him. His groggy response: If you want to prove your love, go ahead and off yourself.
One gets the feeling this pathetic little melodrama among the drug-addled has been having a long run. Soon enough, though, Harley makes good on her morbid proposal, buying a razor at a bodega and cutting her wrist in a park with Ilya looking on. Whisked to a hospital, she’s left with only some nasty-looking stitches as proof of her love.
For a while thereafter, thankfully, Ilya disappears from her life and two other guys take his place. Skully (rapper Necro) is a burly dude in a baseball cap who offers to treat her well and help her out, though it seems like he might have other agendas as well. She, in any case, isn’t interested in being courted with kind behavior and rebuffs him.
Far more important is the relationship with Mike (Buddy Duress), who also seems to want to help her but is constantly exasperated by her neediness, unreliability and demands for both dope and credit. Unlike Skully, he evidences no romantic feelings for Harley—though he plainly despises Ilya, a point that becomes more important later in the story—but is nevertheless bound to her by their never-ending rounds of scoring, shooting up and finding places to crash.
Though the protagonists here end up in hospitals repeatedly, there are no doctors, therapists or social workers as characters. Nor are there parents, family members, non-junkie friends, police officers or similar. The film keeps its characters in a tightly circumscribed bubble of junkie-dom, and that’s one thing that makes it feel a bit phony, less a probing, realistic view of a complex milieu than one that partakes of the junkies’ own gauzy self-involvement as well as previous fictions’ oblique romanticizing of them.
Given the film’s relative weakness on the narrative level, its performances become all the more important, and here the news is largely good. For a first-timer, Holmes is amazingly assured and precise. Landry Jones’ mopey, narcissistic Ilya, meanwhile, is solid and convincing, though not as extraordinary as his turn in John Boorman’s “Queen and Country” earlier this year. The stand-out, though, is Buddy Duress’ Mike. Though it’s clear the reputed “street legend” is not an experienced actor, his work has a force and rough authenticity that make it edgily compelling, his mannerisms and vocal intonations sometimes recalling the young Elliott Gould.
A stand-out of another sort is the camerawork of Sean Price Williams. Using understated lighting, long lenses both outdoors and in close-quartered interiors, and near-constant re-framings, this gifted cinematographer turns in a bravura performance that fully realizes the naturalistic intent of the Safdies’ stylistic approach. That such verité-like verisimilitude can’t substitute for dramatic truth is an obvious truism, but Willliams’ sharp work offers its own elegant justifications.
http://www.rogerebert.com/reviews/heaven-knows-what-2015
Watch Now
Unfortunately, the Safdies don’t. Their film is the latest in a long line of movies that seem to assume the milieu of addiction is justification enough for its existence. The result is a work that—like a whole sub-species of French films of the recent decades—fetishizes its own hyper-naturalistic visual style and performances (all but one by non-actors) while offering no original or striking insights into the world it portrays.
No doubt the film’s surface attractions and its core weaknesses both owe to its origins. Reportedly, the Safdies were researching a project in New York’s diamond district when they spotted a pretty young blonde who they assumed might be a Russian diamond worker. Turns out she was a heroin addict from New Jersey named Arielle Holmes who had a troubled romantic relationship with another addict named Ilya.
Fascinated by Holmes’ stories of her street life, the Safdies persuaded her to write an account of it, a manuscript that became the basis for their screenplay (co-written by Ronald Bronstein). With Holmes playing Harley, a character who apparently differs from herself in name only, the filmmakers shot in the neighborhoods she frequented using people she knew as secondary characters and hidden cameras to disguise their presence (a technique also employed in Oren Moverman’s forthcoming “Time Out of Mind,” about a New York homeless man).
The look, of course, is very close to that of a documentary, which raises the question: Why isn’t “Heaven Knows What” a documentary? If conveying the reality of junkie life was the main objective, that course might have been more productive. As in many other cases, turning real-life material into drama can produce an awkward hybrid: a film in which the reality is diluted by fictionalization, while the fiction is rendered thin and sometimes clichéd due to being shackled to its real-life origins.
So it is here. When we first see Harley, she’s in full hyperactive mode, threatening suicide to the long-haired, plainly doped-up Ilya (Caleb Landry Jones), who’s far more interested in the public computer he’s staring at. She’s so desperately in love that she wants to sacrifice her life for him. His groggy response: If you want to prove your love, go ahead and off yourself.
One gets the feeling this pathetic little melodrama among the drug-addled has been having a long run. Soon enough, though, Harley makes good on her morbid proposal, buying a razor at a bodega and cutting her wrist in a park with Ilya looking on. Whisked to a hospital, she’s left with only some nasty-looking stitches as proof of her love.
For a while thereafter, thankfully, Ilya disappears from her life and two other guys take his place. Skully (rapper Necro) is a burly dude in a baseball cap who offers to treat her well and help her out, though it seems like he might have other agendas as well. She, in any case, isn’t interested in being courted with kind behavior and rebuffs him.
Far more important is the relationship with Mike (Buddy Duress), who also seems to want to help her but is constantly exasperated by her neediness, unreliability and demands for both dope and credit. Unlike Skully, he evidences no romantic feelings for Harley—though he plainly despises Ilya, a point that becomes more important later in the story—but is nevertheless bound to her by their never-ending rounds of scoring, shooting up and finding places to crash.
Though the protagonists here end up in hospitals repeatedly, there are no doctors, therapists or social workers as characters. Nor are there parents, family members, non-junkie friends, police officers or similar. The film keeps its characters in a tightly circumscribed bubble of junkie-dom, and that’s one thing that makes it feel a bit phony, less a probing, realistic view of a complex milieu than one that partakes of the junkies’ own gauzy self-involvement as well as previous fictions’ oblique romanticizing of them.
Given the film’s relative weakness on the narrative level, its performances become all the more important, and here the news is largely good. For a first-timer, Holmes is amazingly assured and precise. Landry Jones’ mopey, narcissistic Ilya, meanwhile, is solid and convincing, though not as extraordinary as his turn in John Boorman’s “Queen and Country” earlier this year. The stand-out, though, is Buddy Duress’ Mike. Though it’s clear the reputed “street legend” is not an experienced actor, his work has a force and rough authenticity that make it edgily compelling, his mannerisms and vocal intonations sometimes recalling the young Elliott Gould.
A stand-out of another sort is the camerawork of Sean Price Williams. Using understated lighting, long lenses both outdoors and in close-quartered interiors, and near-constant re-framings, this gifted cinematographer turns in a bravura performance that fully realizes the naturalistic intent of the Safdies’ stylistic approach. That such verité-like verisimilitude can’t substitute for dramatic truth is an obvious truism, but Willliams’ sharp work offers its own elegant justifications.
http://www.rogerebert.com/reviews/heaven-knows-what-2015
4 ) 轻松打破观众对瘾君子的刻板单调印象
萨弗迪兄弟似乎摆脱了最初两部影片里的新浪潮影响：粗砺画面与晃动的摄影几乎消失，取而代之却是流畅的剪辑与声音技术，越来越有商业电影的味道。开头和结尾两场的耸动配乐最为明显，无对白的影像/画面具有先声夺人的力量，一种不安而可怖的气氛笼罩在这个边缘人故事的开端，而这种声音处理方式跟沙尔茨在《克利夏》的开篇有着相同的效果，不能不说是一种惊人的巧合。
这对兄弟导演依然钟情拍摄纽约边缘人题材，继之前的女贼和电影放映员，这部奠定影坛地位的作者电影将目光聚焦在瘾君子身上。要用“触目惊心”来形容拍摄对象才足以概括我的直观感受。尽管此前看过不少因吸毒而自甘堕落的题材，但这部现实主义色彩浓烈的作品更让人沮丧和慨叹。影片的阴暗基调跟阿伦诺夫斯基的《迷上瘾》不相伯仲，而跟《迷上瘾》里依靠眼花缭乱的（剪辑、摄影与配乐）技巧营造悲怆的手法不同，这部完全是依赖演员不加修饰的演绎。换个准确的说法，纯属角色自然流露的性格与气质所致。
女主角Arielle Holmes有过吸毒史，她后来写的《纽约疯狂爱情》讲的就是亲身经历，同时也是本片的改编来源。另外剧中不少演员或多或少有过不光彩的经历，如小偷小摸，进过监狱等。导演选用非职业演员给这个悲剧故事增添了难以置信的真实感，很多细节是职业演员难以演出来的，比如吸毒时的手部颤抖，脸部的抽搐表情等。而这种传统似乎可以追溯拉里·克拉克（Larry Clark），甚至是格斯·范·桑特早前部分作品。
除此之外，萨弗迪继续此前惯用的偷拍手段，演员的即兴台词也为影片增色不少，尤其是在大街上争吵，及女主角跟毒贩争执的场景。然而，相比前两部作品，这部缺少了一些奇思妙想的段落，也许导演认为类似的“幼稚”手法（巨型蚊子与漂浮在河面上的白熊）跟本片的论调格格不入。另一方面，剧本似乎要着力刻画的是这个依赖嗑药的边缘群体的日常现实，而非他们进入飘飘欲仙的幻觉世界。
为了细致刻画这个特殊群体的日常生活，导演不惜采用大量特写镜头来展示人物的脸部与身体，捕捉他们空洞呆滞的眼神，口齿不清的对白，进而增强故事的真实感。最令我意外的是，剧本里安排了女主角的一条爱情线，尽管最后以悲剧告终，但是这种处理手法一方面带来些许商业类型片的味道，另一方面，却也轻松打破观众心目中对瘾君子一直以来的刻板单调印象，有助于凸现这个边缘群体的实在感与悲剧本质。
很多时候，我们正常人感觉离这个边缘群体挺遥远的，即使在路上见到也会敬而远之。但看过影片后，又渐渐觉得他们其实跟正常人没太多分别。他们也是有七情六欲的真实个体，也会有正常的喜怒哀乐，只不过是个人选择生活方式不同而已。我认为，萨弗迪兄弟透过这个悲伤的爱情故事并非要揭示或批判什么社会现象，他们只是想展示纽约这个特殊人群的真实面貌，让更多观众了解到纽约最深刻的一面，远非是游客观光时见到的靓丽风景。
这对兄弟导演依然钟情拍摄纽约边缘人题材，继之前的女贼和电影放映员，这部奠定影坛地位的作者电影将目光聚焦在瘾君子身上。要用“触目惊心”来形容拍摄对象才足以概括我的直观感受。尽管此前看过不少因吸毒而自甘堕落的题材，但这部现实主义色彩浓烈的作品更让人沮丧和慨叹。影片的阴暗基调跟阿伦诺夫斯基的《迷上瘾》不相伯仲，而跟《迷上瘾》里依靠眼花缭乱的（剪辑、摄影与配乐）技巧营造悲怆的手法不同，这部完全是依赖演员不加修饰的演绎。换个准确的说法，纯属角色自然流露的性格与气质所致。
女主角Arielle Holmes有过吸毒史，她后来写的《纽约疯狂爱情》讲的就是亲身经历，同时也是本片的改编来源。另外剧中不少演员或多或少有过不光彩的经历，如小偷小摸，进过监狱等。导演选用非职业演员给这个悲剧故事增添了难以置信的真实感，很多细节是职业演员难以演出来的，比如吸毒时的手部颤抖，脸部的抽搐表情等。而这种传统似乎可以追溯拉里·克拉克（Larry Clark），甚至是格斯·范·桑特早前部分作品。
除此之外，萨弗迪继续此前惯用的偷拍手段，演员的即兴台词也为影片增色不少，尤其是在大街上争吵，及女主角跟毒贩争执的场景。然而，相比前两部作品，这部缺少了一些奇思妙想的段落，也许导演认为类似的“幼稚”手法（巨型蚊子与漂浮在河面上的白熊）跟本片的论调格格不入。另一方面，剧本似乎要着力刻画的是这个依赖嗑药的边缘群体的日常现实，而非他们进入飘飘欲仙的幻觉世界。
为了细致刻画这个特殊群体的日常生活，导演不惜采用大量特写镜头来展示人物的脸部与身体，捕捉他们空洞呆滞的眼神，口齿不清的对白，进而增强故事的真实感。最令我意外的是，剧本里安排了女主角的一条爱情线，尽管最后以悲剧告终，但是这种处理手法一方面带来些许商业类型片的味道，另一方面，却也轻松打破观众心目中对瘾君子一直以来的刻板单调印象，有助于凸现这个边缘群体的实在感与悲剧本质。
很多时候，我们正常人感觉离这个边缘群体挺遥远的，即使在路上见到也会敬而远之。但看过影片后，又渐渐觉得他们其实跟正常人没太多分别。他们也是有七情六欲的真实个体，也会有正常的喜怒哀乐，只不过是个人选择生活方式不同而已。我认为，萨弗迪兄弟透过这个悲伤的爱情故事并非要揭示或批判什么社会现象，他们只是想展示纽约这个特殊人群的真实面貌，让更多观众了解到纽约最深刻的一面，远非是游客观光时见到的靓丽风景。
5 ) 底层的美国人，过得的确不堪，好在他们有医疗保障，天朝如何？
底层的美国人，过得的确不堪，好在他们有医疗保障，天朝如何？美国低收入家庭和穷人不少，在一些低收入家庭和穷人没有医疗保险的时期，洛杉矶县有条规定，当一个人因病或意外事故生命有危险时，任何医院的急诊室不准将病患拒之门外，不管这位病患有钱没有钱。如果医院要先收钱后救人，那免不了是要吃官司的。穷人患重症或要命的事，医院可以先把抢救和住院的费用记上账，如果病患真的是低收入而无力支付医疗费用账单，这些费用就由医院和病患协商，看看病患到底能支付多少，然后再决定交多少钱。
6 ) 65
曾经某刻，在谈及美国电影的意识形态之时，我指出了三个国家的电影人未曾拍出真实影像。但此处的“真实”仅就电影还原现实这一新现实主义所标示出的道路而言；因而招致了大家的误解，将我认定为一位口不择言之人。实则是冤枉。
此时此刻，《天知道》给了我一个辩白的机会，同时也提醒读者作者在尝试文学化表达之时，是不该作实证主义理解的。我想尤其指出的是《天知道》这部电影看似反驳了我在前面提出的观点，也即美国电影人未曾拍出过真实影像；实则是提供了观察这一问题的新方式。
《天知道》给予我们的就是一种异乎寻常的真实，已经脱离了新现实主义所开辟的语境。这种真实质感的获得不只在于电影聚集的是社会边缘人物的生活主题，这是通过对这些人物恋爱、吸毒、犯罪等一系列生活常态的刻画；还在于导演为获致这一真实质感所采用的方式。
借用一个比拟，我们可以将这部电影的镜头称为“望远镜式”的。它们是这样的镜头：深焦，近景（特写），背景的模糊化，以及晃动。因而观众如同举着一架望远镜将目光投向远方，看到了这些社会边缘的弱势群体挣扎的身影；会因为刀刃划开血管而不敢直视，会因为吸毒场面而坐立不安，会因为其自由地反抗着这个荒诞社会而欢欣鼓舞……
这是一类直接作用于我们感知的影像，如同那个在片名出来之后的长镜头，其伴随着配乐和镜头的自如移转导致的不可思议的观感，无不在提醒我们：我们需要这样的电影。
此时此刻，《天知道》给了我一个辩白的机会，同时也提醒读者作者在尝试文学化表达之时，是不该作实证主义理解的。我想尤其指出的是《天知道》这部电影看似反驳了我在前面提出的观点，也即美国电影人未曾拍出过真实影像；实则是提供了观察这一问题的新方式。
《天知道》给予我们的就是一种异乎寻常的真实，已经脱离了新现实主义所开辟的语境。这种真实质感的获得不只在于电影聚集的是社会边缘人物的生活主题，这是通过对这些人物恋爱、吸毒、犯罪等一系列生活常态的刻画；还在于导演为获致这一真实质感所采用的方式。
借用一个比拟，我们可以将这部电影的镜头称为“望远镜式”的。它们是这样的镜头：深焦，近景（特写），背景的模糊化，以及晃动。因而观众如同举着一架望远镜将目光投向远方，看到了这些社会边缘的弱势群体挣扎的身影；会因为刀刃划开血管而不敢直视，会因为吸毒场面而坐立不安，会因为其自由地反抗着这个荒诞社会而欢欣鼓舞……
这是一类直接作用于我们感知的影像，如同那个在片名出来之后的长镜头，其伴随着配乐和镜头的自如移转导致的不可思议的观感，无不在提醒我们：我们需要这样的电影。
她和他在我眼里浪漫得不可救药。穿着帽衫的流浪汉毒瘾青年，恨你时想弄死你，爱你时在大街上亲吻乱搞，有情绪了就突然消失，不给理由。这才是特么的真实啊
它的难能可贵之处在于将一种地下手工作坊式的美学风格发挥到极致，横生出一种凛冽刻骨的真实性，无限贴近对生活的还原，同时又不矫揉造作。还有一点就是导演将整个故事的概念先抛出，展现毒虫们混沌的街区生活，真实而绝望，但又不乞求观众的怜悯同情，你也甭想从中获取到什么。
“我吸毒割腕偷东西，骗钱滥交爆粗口，天知道我是个好女孩~”纽约宝贝不断坠落，唯有真爱天知道，扔手机化做天边烟火
7.5 改编剧本的主角由原著作者本人来出演，我想剧组在当初选角的时候考虑的是她能够还原那份真实感，女主也确实做到了。很喜欢结尾的处理，它没有对剧本中的冲突给出解决，正如同这群流浪毒虫的现实生活一样，找不到出路。也很喜欢扔手机与烟火的剪辑，很有诗意。
珍贵的人物状态，人物几乎不停歇的语音喷发和肢体躁动牵引镜头的追踪，构成人物状态的基底，并抹平剧作或结构上的痕迹，让人物能先于“表演”灵动起来，是为“迷幻”精髓所在，也是吸毒群体精神游离后回归肉体本能的隐喻。电子乐在维持形式感的同时间离共情，在叙述空白处引向“观看”以削弱摆拍造成违和的“虚假”感。
才华横溢且懂得控制（好不好另说）
C+ / 《好时光》是彻底的迷幻药，《天知道》更像是半吊子的毒品。后者在努力兼容的爱与错乱的过程中反而显得有些单薄，前者汹涌的癫狂反而更显真实。开头结尾优秀，中间不足。要凸显颠沛流离中爱的神性反而失焦，开始文本逻辑构建后影像之力反而弱化。几个长镜头简直醉酒般飘逸又上帝般沉重。
观感非常残暴的一部片。摧毁瘾君子的不仅仅是海洛因，还有两人之间病态、纠缠的爱情。但导演并没有用任何方式让角色变得善感，亦没有增加什么浪漫的成分，而是将电影带来的这种尖锐突兀的感受本身化为最激进的共情。不过依然没有解药没有出路，只有腐烂的生活和幻灭的自毁。
独立电影的粗粝感谱写出病态的爱情故事，萨弗迪兄弟风格尽现。与《好时光》完全相反几乎要蹭到脸上的手持镜不同，《天知道》镜头始终与主角们保持一定距离，达到一种局外人的状态。火烧那段实在很癫狂了，可与《好时光》最后那个坠楼镜头一拼
爱你多一点，恨他少一点，感情完全抵消，残冷世界的平衡法则正如此般，只剩混沌如初的躯壳在不知疲倦地挣扎；疲软化人物与刺激剧情感正面交锋，糅合旋转自成黑洞，充斥着漫无边际的迷雾与电音，引人入胜也自知因果；本以为结尾会是一场成功的功能性交接，没想到却是一次巧妙的指鹿为马。
卡萨维茨的皮，内里有卡拉克斯的烈味儿。导演兄弟俩在自己的方向上很成熟了，通篇怼脸上的镜头，自在的临场发挥气质，冷清又带着些许肉色的调色，介入感强烈。另外很贴近的写人，角色也并不单调（女主面对不同男人的态度抓取的好，但对毒贩剖白别有所爱的一场说辞勉强）。扔手机变烟花，唯一动情的描写
异乎寻常的真实。没看过出片名后的那个长镜头，大概不可语2015年电影。
直接，强烈。最后一幕绝妙，回到社区一切照旧，只是Harly坐在旁桌。影片最后的pov镜头拍出了disillusion。Ariel Pink的音乐大赞。个别的镜头设计有点二。
诚挚。
终日游荡街头的瘾君子，在毒品面前一切都变得虚无、无意义，塑造的可怜可恨之人挺成功。
她的讲述从划开手腕的血管开始，扮演自己的她和他们在纽约街头奔跑，游荡，相比其它电影中无休止的注射，交易，歇斯底里，她的故事里更多的是无聊和孤独，是清醒和失控之间最真实的生存和最坚韧的爱情。死亡是留至最后的神圣。他掷出的手机在她眼里绽放成烟花，他的消逝在她想象中不过是生命燃烧殆尽。
As fucked up and beautiful as New York itself. 手机化作烟花真是神来之笔
这是个什么烂片啊！！！我去 完全不能接受 ，一个词 病娇
一次又一次，我们看到卡萨维蒂对美国独立电影的影响。人物畅游在剪接细碎与镜头失稳的真实中，却时不时感觉到遁入情节剧式表演的状态抽离。这也只是皮相。从中看到无意识如何反抗观众的惯性显然更为珍贵，局部段落比迈克李微妙。
啟發至女主角的真實生活，吸毒成習，愛恨交纏，電影九成時間都被面孔佔據了畫面，透過零碎的鏡頭重組青春的死去活來。但。這不就是早期卡薩維蒂作品的風格嗎？(劇照都像極了<影子>)，相似不是問題，素材剪裁不夠準確，音樂的運用更是讓人不解，只有瘋沒有愛，珠玉在前，作品也只成為別人的影子吧....