怪物

这个戏剧可能从一个熟悉的前提下,但它很快演变成一个发人深省的,悬疑的,和熟练的影片。通过交错史蒂夫pre-prison生活展开他的案件,怪物提出了对真理的宏大叙事,角度来看,讲故事,和记忆。史蒂夫,电影的学生,开始叙述电影好像阅读从一个脚本(“室内。房间——日”)。这是一个聪明的概念,幸运的是没有滥用。这是他的故事,但事实上,他是告诉它——就像他的电影老师指出的讨论罗生门——意味着我们只得到他的观点。我们知道我们应该他作为叙述者的可靠性问题,但这并不是简单的考虑他多么同情的人物。“他看起来像你的儿子,”他保证我们自己。当我们点击一个场景,甚至他的慈爱的父亲看起来不确定关于史蒂夫的纯真,这是不和谐的。

有悬念的17岁的史蒂夫和他的爱,舒适,受过高等教育的家庭能承受住压力的终身监禁的指控和可怕的条件。在恐慌,史蒂夫问自己,“你会成为存活25年到终身监禁在这里吗?”There's suspense in trying to grasp how the facts of what happened on the night of the crime will unfold. And there's suspense, of course, in the trial, particularly considering Steve is a young Black man -- he "looks the part," as the prosecutor chillingly puts it. The film has an obvious message about the presumed guilt and unfair prosecution of Black men, though it's careful not to generalize innocence either. In a movie about a wannabe movie-maker, symbolic choices of lighting and framing are also to be expected. Steve's pre-prison life is captured in warm autumnal tones, a contrast to the cold grey of the courtroom scenes, where White and Black characters are dressed in white and black. There's no space for grey in the court of law, we're told, yet this film works precisely because it exploits the grey area between fact and fiction, memory and truth, guilt and innocence.