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故事主干
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.
观众心声
开始总觉得片名是指Josh谋杀女友父亲一事（会有某种反转），后来才意识到片名对其中每个角色来说都是成立的：她们似乎永远都执著于站在那不可接受的事实的对面，却又在不经意间滑入妥协的轨道 - 但她们继续下去的方式是若即若离，就像Hal对人物的设定，不论行动还是对白，都仿佛置身于一局弹子球游戏。巧妙又不失灵气，太喜欢了！（看卡司发现竟然是Reichardt出演的女主的妈妈 有惊到
霍尔·哈特利的处女作，有趣另类，不像是美国导演，欧洲电影的味。历史的终结，不可置信。
perfect weird
首先致敬早逝的女主角 小仙女自带灵气演这种古灵精怪的美少女太适合了8⃣️ 看了导演另两部类似的 还是这部最爱 冷冷的笑点 莫名其妙的执着点 清新又独特
BSC90NS，贫瘠
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