看到剧中一些备战高考的场景，不由得想起了自己当年的高三，剧中的人备战高考都有自己的目标，想想自己，当年好像仅仅是为了那场考试，也没考虑过考过之后的事情。

我出生在高考大省山东，高考竞争非常激烈，而我又不属于天赋异禀的人，只能是靠勤奋来弥补天赋的劣势，初中高中让我明白，勤奋真的弥补不了天赋的差距，记得剧中一个学生因为付出很多却没考好而哭，深有体会，当年的自己自己很多人又何尝不是呢？

记得高三的时候，那时候内卷一词还没诞生，大家也都不知道何为卷，自己当年学习的动力很简单，就是为自己争一口气，在学习，你学习好，大家都会看得起你，都会尊重你，老师也重视你，这种感觉非常诱人，当我考的分不如别人时，我心中难免会有一些负面情绪，即使比你优秀的人和你关系比较好，那时候的胜负欲真的好强，那时候的自己也好卷，卷到和别人比谁第一个到教室，谁复习到最晚，卷到起的太早食堂甚至还没做好早饭，卷到因为太劳累甚至晕倒被120拉走。。。一切的一切，只为了那个考试，决定很多人命运的一个大考，大多数人高三其实都一样，心理都会出现各种的问题，不免会影响自己。找你那时劳累过度晕倒之后，自己的心态就变了，心态放平了，也许外界的压力没那么大了，家长和我说身体最重要，考什么样无所谓，我也认清，这就是一个考试而已，自己本身不是一个非常擅长应试教育的人，自己在其他方面给有很多的优点，做好自己最重要。

最后我当年的大考，发挥出了我应有的实力，没有发挥失误，也没有超常发挥，分数上不了211.985，却也足够上省内任何一所好的双非一本院校了，当我看到自己高考分数的那一刻，内心是那么的波澜不惊，因为那就是我真实的水平，考完其实自己也想好了，即使自己没发挥好，也不会再复读了，因为高三那一年，对一个人来说太难熬。后来了解到年级里很多平时成绩比我好的，都没发挥好，这可能就是心态的因素吧，我的一个关系很好的朋友比我高20分（除了211.985随便挑了），但他仍然不满意，又复读了一年终于考上211，如今我对他能重头再来的勇气依然敬佩。

后来，夸过了高考之后，才发现，后面还有很多大考等着你，原来高考只不过是第一关，但心态已经完全紧张不起来了，英语四级第一次划水复习3分之差，第二次认真以后轻松过线，法考第一次主观题6分之差失利，认真备考之后又是轻松过线，公务员笔试划水复习侥幸进面之后，即使认真学习自己不擅长的面试也没能成功上岸。

如今又快到了新一年公务员考试的时间了，身处考公大省山东的我又要面临自己的一个大考，可是经过大学四年的躺平与放纵，好像自己已经找不回高三时强烈的主动学习状态了，即使如今依旧在努力着学习……也许当年认为高考就是自己的人生，没跨过去人生就完了，而如今的努力也许只是为了碎银几两……希望未来几个月自己也能跨过面临的大考，去迎接未来更多的大考吧！

Brazilian filmmaker Kleber Mendon?a Filho’s third feature, sharing both director and writer’s credits with his production designer Juliano Dornelles, BACURAU, which means “nightjar” in English, is the name of a remote village in Brazil’s backcountry, where our nominal protagonist Teresa (Colen) returns to attend her 94-year-old grandmother’s funeral, who is the matriarch of the place, yet the villagers start to realize something uncanny is underfoot: the bullet holes on the truck which transports water for their daily use, a saucer-shaped drone materializes out of nowhere, the advent of two shady cross-country motorcyclists (Teles and Saboia), and most bizarrely, the village completely vanishes from all the digital maps.

After two villagers are shot point-blank when they discover the family of a nearby farm has been ruthlessly slaughtered, the bizarre lay of the land begins to clarify itself: a team of American mercenary gunslingers, led by Michael (Kier), is going to annihilate the entire village for pecuniary gain (one can fairly guesstimate who is their funder), and the whole village rises to the occasion collectively and valiantly, a climatic, Tarantino-esque pitched battle will settle the score once and for all, Manichaean and stirring like a vintage oater/slasher, and heads will definitely roll.

Awarded with Cannes’ Jury Prize, BACURAU assertively establishes Mendon?a Filho’s move into the magic realism with vim and vigor (an idiom rooted profoundly in South America’s cinema soil): a clamorous funeral ritual where no tears is shed, in lieu there are pensive looks, exclamation and spiritual celebration; absurd encounter between villagers and two outsiders with tension sizzling underneath the casual pleasantries; and the virile braggadocio embodied by Lunga (Pereira, a queer actor who is famous for his cross-dressing flamboyance), the tribal warrior vowing for retaliation to the American intruders. While the interrelationship among those mercenaries borders on clichés of vulgarity, ethnocentric swagger and disturbing racism (one of them confesses that he balks at the idea of initiating a killing spree stateside, and is very grateful to the opportunity of unleashing his trigger-happy monomania onto another continent/race), one can clearly read Mendon?a Filho and Dornelles’ grievance towards Brazil’s current despondent political climate (the virulent influence of USA) and the country’s own troubled post-colonial identity, where repressed anger and poetic justice make the fur fly in its gory but cathartic showdown, precipitated by a nude couple’s composed self-defense, elated by the throbbing electronic backbeat from its composers, but also muddled by Michael’s own equivocal, self-defeating caprice (and a blink-you-will-miss-it apparition).

Among the vast and capable cast, Mendon?a Filho and Dornelles venerably put two cinema icons in the foreground, veteran Udo Kier pointedly underlines an arresting madness in his mad-keen glare whereas a cantankerous S?nia Braga runs away with the undiminished strength and steely resolution residing inside an old guard. BACURAU might not possess the slow-burning dramaturgy and reflective sensibility which grace Mendon?a Filho’s AQUARIUS (2016), but as a genre-bending anomaly, it is an enterprising doozy highlights an emboldened Mendon?a Filho’s gutsy exploration out of his own comfort zone.

referential entries: Kleber Mendon?a Filho’s AQUARIUS (2016, 8.3/10); Gastón Duprat and Mariano Cohn’s THE DISTINGUISHED CITIZEN (2016, 7.9/10); Joaquim Pedro de Andrade’s MACUNAIMA (1969, 6.6/10).

第一章（大概前12集）

前半段的节奏挺好，再加上难有的华语局尺度，尽管仔仔连续无脑由超神，但整体的悬疑感和猎奇感拉得还是挺满的。只要爽，细节逻辑之类其实没那么重要了。

所以前半段我给4星????

第二章

开始精神分裂了，我严重怀疑前后编剧不是同一个人，剧情几乎拦腰斩断，该说的就是不跟你说清楚，该搂着点说的我用脚趾都能猜到，新人物安插僵硬无趣。实在是无聊。

杨羽璐，这角色我就告诉有个什么用？对情节有推动吗？对主题有升华吗？让观众有思考价值吗？莫名其妙！

但你可以认为她是给了钱，要求在后半段强行加的角色。搞成这样也就想得通了。

后半段只能给到1到2星??