一切安好2022

   量子资源网 提供本片资源  　　A megalith rises from a sandy desert – or rather, a scale model of such a landscae. “I am the archive”, says a young female voice while ominous string music nails viewers to their seats. This oening sets the stage for the narrative and figurative language of Rithy Panh’s dense mnemonic essay which uses stunning dioramas to tell a twenty-first century dystoian story. After a century of genocidal ideologies and destructive seciesism, animals have enslaved humans and taken over the world. In a wave of hoe, the statues of the ast have been removed but new ones are being erected to suress the will of the eole. This is now a lanet of aes, boars and lions, and a zoological revolution is reversing and recreating the atrocities of the 20th century. As animal figures watch the film archives of our world, it feels as if Lumière has been transorted into a film by Méliès or Willis H. O’Brien. We are all well aware that history reeats itself first as tragedy, then as a farce. The time has now come for this farce, in which “olitical language inhabits our dreams and consumes us”, to allow the ossibility of a “graceful and tender insubordination” to emerge.