岐路兄弟

和孤独同样不朽的是什么？从奇莱到柏克莱，乱石磊磊的心间正在上升完成的，是诗……《朝向一首诗的完成》从杨牧朗诵的声音，展开对于一个庞大文学生命的追索。那个花莲中学里踟蹰的少年，大度山下论辩学习的身影，在爱荷华选读古英文的执着与好奇，乃至其穿梭于欧美、大陆与台湾的文化资源，融会知识进入文学写作的尝试，那对于音韵与想像的计较的决心，均使人重读杨牧诗文时，更深刻地重新被撼动一次。

男主人带两个儿子坐火车被日本子炸死 ，变成鬼回去别墅发现他老婆和人通奸用利斧砍死，有一个镜头是一队日本兵晚上睡在房子里，早上起来都在院子里躺着在。一个老头的一篮子鸡蛋被打碎了，这个女鬼从口里吐鸡蛋还给那个老头。半夜12点有鬼出来杀人椅子自己会动.

当卡姆和斯凯买下他们的复式公寓时，这对这对年轻夫妇来说似乎是一个完美的投资机会；一套入门房、租房者抵消的抵押贷款，甚至还为斯凯的妹妹卡罗琳提供一间客房。但随着斯凯和卡姆慢慢揭开隐藏的摄像头和复式公寓前房主的秘密，痴迷吞噬了他们的婚姻，他们都陷入了破坏性的偷窥狂。当新房客搬进楼下时，他们对观察他人的执着会带来致命的后果，他们被迫面对自己所消耗的事物。

Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.