James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?
牛逼。如果在想象力上再进一步就可以写进史册了，可是哪有那么容易呢，而且也不是谁都在乎被写进史册这个事情
你永远可以相信温子仁的导演署名。
1. 建议只看后1/3或删减部分。
视觉和听觉上的再次升级 (能把Therefore I am 改成那种史诗级，简直跪了)。/隔了一天再来，《Everybody Dies》居然在我脑袋里循环了一整天。真的没有难听的歌，只有难听的编曲 （这个交响乐现场真的完美到爆炸。）
漫威看多了也就那意思 multiverse玩好几部都比不上人家十几秒的快闪
恐怖元素？有。恐怖片？Kidding。虽然很努力地在往那方面靠了，但是很显然漫威（或者说是迪宝）还是放不开手脚。
我以为是纪录片，寻思了解了解她。结果是演唱会。碧梨的歌，我一直就不爱听。那首《哈雷彗星》不错！
恐怖面孔也可以理解为无意识的另一个人格主体。
19岁已经有这么多bad relationships
设定还是有惊吓到我的，可能我看恐怖惊悚类型不多，层层递进的解谜型惊悚观感很不错，就是有时候战斗力突然超自然性爆表的逻辑漏洞，让人有点出戏
姐姐追姐姐 皇后杀了皇后 strange杀了strange
真人&动画，独唱&唱诗班
哈雷彗星比原版还要再上一个台阶
搭配了交响乐队的二专
虽然不是碧梨粉丝，但是很喜欢这种半记传类的风格。
娴熟的摄制工艺，好听的歌曲，精致的动漫和舞台演唱完美结合，高清的画质，在家来一场美美的视听享受。 8.3/408
可能还有很多的不足，但回馈的效果好太多了。
《Therefore I Am》的交响乐版，听的劲儿劲儿的。
太适合夜晚一个人在家投影整面墙享受了，是时不时会拿出来看一遍的程度。
音效师七十分，摄像师五十分，编剧三十分，温子仁零分。
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