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内容大要
In Skazka, Alexander Sokurov weaves digital magic to create a phantasmagorical vision of the Afterlife, worthy of Dante. But wait: are we in the limbo of Purgatory, or a paradoxical Paradise reserved for notorious men of world history? Mussolini, Stalin, Hitler, Churchill and more: all are present and accounted for. Since they exist only as archival media images, each figure comes in a serial set.
In the blackest of political comedies, these fallen men beg, in turn, to be let through Heaven’s Gate – but the angels who peek through never open wide. Little wonder, as the former leaders wander listlessly, bitching (in a Babel of multiple languages) about each other’s clothes, hair and hygiene.
In what is effectively a work of animation, Sokurov has pulled together many talents into an extraordinary technological feat. It blends pictorial elements from art history to form an endlessly unfolding landscape, replete with fog and ghostly armies of the sacrificed victims of history. Announced as Sokurov’s last film, Skazka is an inspired riff on the high culture of Peter Greenaway mixed with the low culture of mash-up artists Soda_Jerk. Can we now expect some entrepreneur to bring us the interactive Skazka video game?
观众心声
如此美妙的滞重感。身体是滞缓的，可却又像是在冥界失重般步行。
苏维埃笑话合集（不好笑的那种）。用史料里的客体去构建去操纵去摆弄。给我一种导演终于可以随意安排具有历史性的主体但又不用担心演员不够“真”的感觉。这些主体的影像机械且掉帧，刻意放缓，不同时期的客体叠加，喃喃自语又鸡同鸭讲，放置式地摆弄这些客体，看得出导演很醉心于终于可以将这些“人”玩弄于股掌。然后用了一个自己很熟的框架套进去就完事了，敷衍了事。
+，政治人物的影像在天堂门外相遇，口中不断呢喃重复生前的遗思，童话般的想象。
《神曲》二战版的影像化实验，历史影像资料简略使用短视频特效层级的技术实践。除去背景应用插画风格的建筑与后段海啸山呼人群有令人惊奇的地方，主体人物一给到特写就显露出那过于劣质的“动画”感，宛若网友恶搞，令人发笑的同时，也使得主题显得无聊。如果说二战不同阵营诸多领袖并立，且热衷谈论其间关系的话语是立志于表述单纯权力的话题。那语焉不详、幽游梦呓的台词就显的太过无力了吧。放逐权力诞生机制与土壤的同时也使得人物沦为单纯的符号，喊出那并不罕见且无新意的看法，借历史人物之嘴说索科洛夫自己的话罢了。也就只剩历史八卦的人物关系令人觉得有趣。而且单独对权力的讨论，也故步自封在了二战之中，甚至连这都未囊扩全，应该加个欧洲的前提，耶稣、拿破仑虽然出现，但短暂的一闪并进入讨论维度，也就没有了做历史性探讨的可能了。
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