【影评搬运】DutytoLove:Close-UponElizavetaStishova’s34;SuleimanMountain34;byNaomiKeenanO39;Shea

Inherdebut,RussiandirectorElizavetaStishovajourneystomountainousOsh,Kyrgyzstantoexplorethemostunconventionaloffamilies.Close-UpisafeaturethatspotlightsfilmsnowplayingonMUBI.ElizavetaStishovax27;sSuleimanMountain,whichisreceivinganexclusiveglobalonlinepremiereonMUBI,isshowingfromAugust19–September17,2019inMUBIx27;sDebutsseries.LoveisatrickythingtofindinElizavetaStishova’sSuleimanMountain.InherdebutfeaturetheRussiandirectorjourneystothemountain-huggedregionofOsh,Kyrgyzstantoexplorethemostunconventionaloffamilies.AyoungboynamedUluk(DanielDaiyrbekov)isdiscoveredinanorphanagebyhisallegedmotherZhipara(PerizatErmanbaeva)afteralongandunspecifieddisappearance.Amongsttheovercrowdedbedsfilledwithorphanedboyshalf-asleep,Ulukisshakenfromadeepslumbertothesoundoftheorphanagewardenannouncingthathismotherhascometotakehimaway.Itisamomentofbewilderingrebirth.Stiffshoulderedandperturbed,Ulukisreturnedtoahomehedoesnotrecognize—hefindstheillusorymemoriesofhisfather’sgoodcharactershatteredbyKarabas’sviolentandchild-likebehavior.Karabas(AssetImangaliev)isnowmarriedtoasecond,younger(andpregnant)wife,Turganbu(TurgunaiErkinbekova),bothofwhomarefarlessmaturethanthechildnowlandedintheircare.Uluk’sunforeseenarrivalthrowsthealreadyprecariousfamilyorderintototaldisarray,pavingthewayforstrangepowerdynamicstoemergeandraisingtroublingquestionsaboutthedesireandneedforparenthood.Circumscribedbythefilm’seponymousmountainrange,themotleyfamilyarealwaysontheroadintheirworn-outEastGermantruck,ekingoutaprecariouslivingthroughopportunisticconningandstealing.Zhiparaworksasaspiritualhealer,offeringservicestowomenfromthelocalcommunitywhoascendtherockymountainsidetoseekrefugeinhershamanicrituals.Herlaborprovidesthemostsecureincomeforthefamilyandsanctionsastrangeprestigeandpoweruponhercharacter;thewifeoftheregion’smayorsendsforZhiparatohealthemayor’scomatosemotherandlifthimfromadeepdepression.DespitethegiftsthemenofthefamilyreceiveinexchangeforZhipara’sservices—aremotecontrolhelicopterforUlukandanexpensivesuitforKarabas—thefamilyremainonthemarginsofsociety,incapableofbreachingtheunderclassworldtowhichtheyhavebeenrelegated.TheworldUlukfindsthrustuponhimisstallingatthecollisionsiteofoldandnew.Ancient,spiritualhealingtraditionsandcommunitycelebrationsheraldingachild’sfirststepsarecutthroughwiththesubtlebutsignificantpresenceoftechnology—theveryfirstthingZhiparasaystoUlukastheyleavetheorphanageistoaskifhecansendanSMS.FadingSovietinfluenceringsoutintheoldRussiansongtrumpetedinKarabas’sirreplaceableEastGermantruck.HisdollarsaredeniedaslegalcurrencyatanupmarketsuitshopandataruralbusstationaloneWesternbackpackercanbespottedamongstthelocals.SuleimanMountain’sworldfeelslargelyinscrutablebecauseitdoesnotquiteseemtoknowitselfinthesechangingtimes.Similarly,thefilm’scharactersstruggletonegotiateirreconcilablerolesandidentitiesaseachabsorbsthevariousconflictsthatariseasaresultoftheclashbetweenmodernityandtheirindigenousKyrgyztraditions,alongsidethestrainofintergenerationalandclassdivides.Inthisramblingstorythatplaysoutaspartfamilymelodrama,partroadmovie(wheretheroadseemscircuitousandalwayswithoutdestination),thecharactersfindthemselvesinmultiplestatesofinertia,bothdependentupononeanotherandindesperateneedtogetaway.Thecharacters’willingnesstoremaininthisdysfunctionalset-upisoftenbaffling,ifnotunbelievable,buttheirmercurialcharacterpsychologyisalsopartofthefilm’sallure,aswellasitsmorecriticalagenda:Facingaworldthatdoesnotaccept,protect,orevenrecognizethemaspeople,thefilm’scentralcharactersaredriventounite—howeverdysfunctionally—againsttheirmarginalityandsocialexclusion.AndwhilewemaywonderwhyZhiparachoosestoremainwithinthisso-calledfamily—consideringthatherworkasaspiritualhealeraffordsheradegreeoffinancialself-determinationandsocialstatus—wemustremindourselvesthatone’sabilitytothinkordreambeyondourmaterialcircumstances,letaloneourcapacitytophysicallyleaveforsomethingelse,isfirstlyaquestionofprivilegeandaccessbeforeitisoneofhumanwill.ForUluk,hisnarrativeunfoldsasacoming-of-agestoryinreverse.Stillayoungboybutforcedtoinhabitadultrolesandbehaviors,Ulukfindshimselfwadingbacktowardsachildhoodthatwasprematurelyrobbedfromhim.Thefilm’sclosingfreezeframeplacesUlukfirmly,ifnotheavyhandedly,amongstcinema’smanyneglectedchildren.InSuleimanMountainthegiftofabatterypoweredhelicopter(missingitsrequiredbatteries)isoneofthefewsignifiersofchildhoodandplay—Uluk,likehismother,isburdenedbylaborandcarework,muchofwhichheperformsinstinctively.Uluk’scapacitytoembracehischildhoodisforeverthwartedbyhisfather’sinabilitytobreakfromhisown.Asthetwovieforcontroloverthehelicopter(whichliterallyandsymbolicallymanifeststhedemiseofUluk’schildhood),itisKarabaswhowinsoutandcrashesthetoyintotheground,refusingtocomfortUlukoverhisloss.Assuch,itisalmosttooeasytometeoutblameuponthefilm’sonerouspatriarchfortheill-fateofhischildandwives.Althoughhischaracterfrequentlydemandsfarmorescreentimethanheistrulyworth,thefilmisnotreallyaboutKarabasatall.Instead,itisfarmoreinterestingtoparsetheshiftingdynamicsthatdevelopbetweenUlukandZhipara,astheirrelationshipchallengestheparametersofmoralityanddutywithinwhichtraditionalunderstandingsofthefamilyarecontainedandasaresultoffersthefilm’smostenigmaticstoryline.Theirrelationshipservesasthefilm’sguidingfulcrumanditisthesiteofgreatestprofundity,notbecauseoftheprimalandsacredstatusattributedtothemother-childunion,butbecausebothofthemmustworksohardtomaintainanysortofrelationshipatall.UlukandZhiparashapeshiftintherolesofsavior,healer,andprotectortooneanother,defyinggenderandgenerationalrolesinanattempttobothsurviveandforgeconnectioninaworldthatfrequentlyfeelstotallybereftandunforgiving.AfterUlukthrowshimselffromamovingtruckindefianceofhisfather’simmorality,Zhiparanurseshissmall,woundedbodyontheroadside.InthefollowingsceneweseeUlukembracethehealingritualshehaswitnessedhismotherperformuponherpatients,thrustingandgroaningaroundZhipara’sdejectedbodyinanattempttoraiseherfromdepression,untilshefinallyoffersupaknowingsmileoftenderderision,orperhapssomethingfarmoresincere;ofcommunion,orsolidarity,ortheacceptanceofprotectionfromanotherperson.Thoughstillconfinedbythelargerdictatesoftheirgenderrolesandclass,UlukandZhipara’srelationshipisthefilm’smostuplifting(andperishable)rebuttaltothesystemsofpatriarchythatdisempowerwomenandchildrenbydenyingthemtheircapacitytolove.WhetherZhiparaisactuallyUluk’sbirthmotheriscalledintoquestionearlyoninthefilm,buttheanswerisneverasimportantasthealternativeanswersthefilmofferstothequestionsoffamily,love,andhome.Inthisrespect,thefinalfateofthesecharactersfeelslikeaprofoundbetrayal,bothofthefilm’scentral(andperhapsonly)meaning,butalsoofsentimentalityitself.Thoughthefilmendswiththeviewerleftholdingonlytheshardsofcharactersandrelationships,stillwonderingwhoisgood,orwhole,orevenclosetoeitherofthesethings,thequestionofloveseemstonolongerlingerondutybutonchance.https://mubi.com/notebook/posts/duty-to-love-close-up-on-elizaveta-stishova-s-suleiman-mountain原文链接在此MUBI网站真的很不错ps加粗的部分是我觉得比较有意思的段落可以重点阅读