非我族类

　　藥物成癮的凡妮莎與男友仰賴社福漏洞苟且偷生，白天推著破舊除草機逐戶敲門、騷擾乞錢，夜晚徘徊荒郊曠野，蟄居廢棄拖車。日復一日，兩人不是在醫院無賴討藥，就是在街上失神遊蕩。行屍走肉般的生活逐漸讓凡妮莎感到不安，發現懷孕後，她力圖振作，卻發現自己無法割捨早已放棄人生的萎靡男友。在感情與理性間搖擺不定的她，終將墮回萬劫不復的愛情煉獄，抑或能堅定擁抱新生的勇氣？
　　加拿大離島出身的新銳導演艾許莉麥坎錫，將家鄉沉迷藥癮、頹廢過活的失業青年群象，改編成現實羅曼史，描繪在絕望與無奈的漩渦中載浮載沉的邊緣悲歌。堅持草根視角，啟用在地演員，以大量貼身特寫手法，展現陰性影像書寫的特殊風格。

　　Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.
　　Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)
　　As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.
　　The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).
　　Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

　　在一个偏远山村的农家小院里，一场热闹而气派的婚礼开始了。28岁的新郎李麦收是全公社有名的种烟状元和养兔大王。今天，他破费了两亩烟钱，终于娶上了百里挑一的俊俏媳妇白雪花。这是实行责任制后，被称为"光棍村"的前金岗村，在半年内娶进的第七个媳妇。深夜，麦收欢欣地走向新房时，房门被新娘关上了，喜烛也被随之吹灭。任凭麦收臬恳求、发怒，雪花都不肯开门。这突如其来发生的事，使得麦收和他的老娘疑惑不安……

　　一群热心的年轻的医生、准医生组成了一支医疗队，深夜奔赴到一个疫症蔓延的村庄。这群年轻人落脚在当地的一座古旧城堡里，然而令他们没有想到的是，这里竟然有着比瘟疫更可怕的东西——流言。这里流传着幽灵出没的传说，传说一个黑色的幽灵经常在半夜出没，吃人肉、饮人血。这些年轻人当然不会将这个无稽之谈放在心上，特别是心理医生姜洪武（聂远 饰），他认为鬼神都是人类的心理幻想，然而，村民却一个一个的倒下了，就连这些医生们都有些人真的看到了“幽灵”。果真有个吃人的幽灵徘徊在村里？