司汤达综合症

#BFI #DarioArgentoDoorsIntoDarkness 算是致敬作品吧，低配冗长版希区柯克作品，已经不太能看出阿基多的作品风格了，但作品呈现出的效果对比于特吕弗的致敬可强太多了，最起码视角不拧巴，感觉阿基多对“女性”的“态度“与希区柯克更接近，或者说理解的更彻底，不过看完结尾后我感觉内核也许表达与希区柯克是相反的。女主在片中的警察身份实际是缺失的，她更多的是以女性这个身份出现，片中也只有她一个女警，以此为基础展现女性困境，后加之“男性变态身份“展现出来的结尾不可谓不悲哀，而最后的一场戏，一群男警察围着她，安慰她，抱起她展现出的又是什么呢？

视听上，片中海量的使用POV镜头，并结合POV音效呈现出的效果非常好。大量的使用退拉焦很好的过渡内心情绪，那两次移动变焦使用的挺惊艳，就是特效太差，导致进入画作的时候还是有些出戏。还有一场旋转镜头印象极深，造成的不安感也非常深。色彩和光影可能是仅剩的阿基多的影子了，毫不吝惜对红色的呈现也是非常契合影片风格（这个红还总让我想起《威尼斯疑魂》），不过少了红蓝搭配总感觉还是少了些什么。眼部打光也是异常的熟悉。剪辑上还蛮喜欢的，尤其是画作的快剪结合碎碎念的效果，更容易让观众带入。还有场精神状态不稳定的女主脸部跳剪效果非常好！

缺点，首先司汤达综合症做麦格芬在本片中展现的效果比较差，然后前半段与后半段割裂感太明显，感觉阿基多是生怕观众看不懂所以才用了整个后半段解释发生的一切，我认为当女主带上Alfredo同色假发就已经能看出接下来的走势了，只能说后半段完全没有翻转效果，挺可惜的。最后就是后配音的嘴形对不上可太难受了。

The film relies more on moods and whims than on structure and patterning, introducing too many elements that it cannot fully resolve. We anticipate that it will explore the question of medium further, examining how the two-dimensional surface of paintings can convey the immersive qualities (frameless, cacophonous, bridging temporal-spatial differences) that film aspires to.

Alternatively, for viewers interested in gender, Anna can be seen as either a victim of sexual trauma, an empowered law enforcer who combats violence, or someone with a fluid identity who assumes different personas during the three stages of the film. However, it seems odd to switch between these interpretations randomly. For example, Anna's physical strength increases after she becomes androgynous but diminishes just before the second rape, and the boxing gloves are left unused later on.

Furthermore, the two plot threads, syndrome and violence, are not convincingly woven together; the artworks seem to lose their mysterious power during the blond-wig section. I doubt that Argento's interest in art is genuine since both old masters and student sculpture and graffiti can produce the same hallucinatory effect.

Perhaps the true unifying theme in this hotchpotch of elements is ‘inside’. This general term can mean anatomically, oral cavity, esophagus, and eye socket; sexually, kissing, penetration, and cutting; abstractly, disordered identities and obsession; concretely, the space behind a picture or a door.

Although it doesn't fully clarify things, the film presents an impressive array of visual images, especially the intricate internal connections within the apartment building, which creates a sense of depth and protection that contrasts with the rooms in the hotel and Anna's hometown. The psychology is nuancedly depicted in the Hitchcockian fashion, and it does not make the sexual offence a pleasing spectacle. Overall, it should not have only attracted an almost all-male audience.

其实女主应该是爱上了大坏蛋吧？从某种层面上大坏蛋才是真正理解女主的人吧？女主最后杀了他成为了他？这个剧本后期如果把控好真的可以成为影史佳作的，而且女主身上有种东方的神秘美，就像老版的朱丽叶。 最精彩的部分应该就是女主攻气爆表试图强暴她的小白兔警察男友，和虐杀完大坏蛋，模仿他的语气来嘲讽他，最后一脚把他踹下河的那段吧。电影中的几处配乐极为出色，代入感极强，尤其是女主司汤达发作的那几段，那种被画中事物吞噬的巨大绝望与无助，对性的恐惧（有人注意到那个大鸡鸡怪兽了吗？虽然只闪过去了几秒）……此时仿佛我就是她，我就是电影的女主人公。

不过后面就有点落入俗套了，我本来还设想了女主分裂出坏蛋人格继续奸杀其他女人，或者她终于发现了自己隐藏的抖S属性，然后强暴了她的警察男友？再不济点让女主变弯了发现新大陆，也不是不能接受嘛。

要是这些都驾驭不了，导演你就干脆在杀死大坏蛋之后再拍几个镜头，留个悬念，这也是个不错的选择嘛。

如果不是后面实在太狗血完全看不下去了，否则这部电影可能会成为我最爱的Top3。当中很多片段即使放到现在看也绝不过时，甚至非常新颖，当然除了结尾的30min。如果能再深挖一下女主童年为什么会产生司汤达综合症，和再进一步描述一下她的妈妈就更好了。

不过司汤达综合症真的很迷人啊，应该需要很高的艺术欣赏力吧？（我应该还没到这个层次hhh）其实我还挺向往的，或许这样就可以逃离开让人厌倦的现实……去往心中理想国，或者成为另一个我，那个被画作所激发出的 隐藏在心灵深处的自己。