畸零與色情/彼得堡異人寫真
又名:畸零與人/OfFreaksandMen/莫斯科異人寫真剛踏入二十世紀(jì)的圣彼得堡，環(huán)繞多個(gè)角色的故事大綱以一位來(lái)自中產(chǎn)階級(jí)的女孩子為中心，自小喪母，私下沉迷于情色照片，與一批和販賣情色照片的攝影師纏上了，愛(ài)過(guò)痛過(guò)，最后出走西方《莫斯科異人寫真》對(duì)于暴力卻幾乎是輕描淡寫的。問(wèn)題不在于觀眾看到了什么鏡頭，而是他們沒(méi)看到什么。約翰在地下室殺了租房的房東時(shí)，以及在工程師屋里殺了醫(yī)生時(shí)，都是在近距離一拔槍就結(jié)果了對(duì)方的性命，對(duì)巴拉巴諾夫而言，似乎暴力的本質(zhì)就是如此直截了當(dāng)?shù)睦淇幔瑳](méi)有一絲拖泥帶水。但冷靜如畫(huà)的影像與精準(zhǔn)的角色構(gòu)造中所傳達(dá)出來(lái)的恐怖，卻是令人不寒而栗的，因?yàn)樗v的暴力是發(fā)自于深沉的人性與社會(huì)結(jié)構(gòu)。相對(duì)而言，動(dòng)作只是輕微的、次要的，而特寫鏡頭的帶出也只是為了遮掩沒(méi)有動(dòng)作的內(nèi)在暴力。就這一點(diǎn)而言，我們可以說(shuō)：在電影發(fā)展一百年后的世紀(jì)末，巴拉巴諾夫意在以具體的藝術(shù)抵御影像的墮落。這部影片的拍攝，至少在表現(xiàn)的手法上永遠(yuǎn)是獨(dú)一無(wú)二、不能復(fù)制的。
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