纪录片自媒体解说素材-新闻动态参考-“我知道这是真实的”评论：安德鲁·多米尼克（Andrew Dominik）的催眠和令人困扰的尼克·凯夫（Nick Cave）表演纪录片/‘This Much I Know to Be True’ Review: Andrew Dominik’s Hypnotic and Haunting Nick Cave Performance Documentary
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0502/1636ieaelp5vtqs.jpg“我知道这是真实的”评论：安德鲁·多米尼克（Andrew Dominik）的催眠和令人困扰的尼克·凯夫（Nick Cave）表演纪录片
‘This Much I Know to Be True’ Review: Andrew Dominik’s Hypnotic and Haunting Nick Cave Performance Documentary
两个相机在圆形轨道上绕着宏伟的钢琴绕。有时，一个人会看到另一个，在键盘上穿过黑发歌手后面，在会议小提琴家之间闪烁，或者在那个胡须的男人身上滑行，蹲在他的合成器上。尽管这款可见的舞台将注意力引起人们对制造的注意 - 舞台灯是流行的；握把漫步，调整接线 - 某种程度上，安德鲁·多米尼克（Andrew Dominik）的“我所知道的真实”的效果是漂浮，无形，催眠的。从一流的2019年坏种子专辑“ Ghosteen”和Cave与沃伦·埃利斯（Warren Ellis）的2021年合作“屠杀”（Carnage）合作，这部出色的表演纪录片可能是对尼克·凯夫（Nick Cave）感到惊讶的，但对于他们（我们），它接近必不可少的曲目。在舞厅里的舞台上，摇摇欲坠的石膏作品（实际上是废弃的布里斯托尔工厂空间），多米尼克（Dominik是任何人都会听到的最后一首歌。正如我们已经期望的那样，偶尔会进行偶尔的访谈。然而，这次的主要重点是Iain Forsyth和Jane Pollard 2014年的“ 20,000天”，这是Cave Life一天的纪录片虚构记录的增长。这次的内在性比在内部少于2016年的“再一次有感觉”（也由多米尼克执导） - 如果有的话，这是一种解脱。这完全是Sui Generis 3D Doc在洞穴15岁的儿子亚瑟（Arthur）去世之后的内部和震惊漩涡。不仅可以想象洞穴复制了那张关于悲伤的精美而慷慨的电影的原始脆弱性，而且看到它是不可能的。 “我知道这是真的”是更平静的，更受控制和删除的 - 一件事没有洞穴的配音 - 如果这使得这是一部比多米尼克（Dominik）关于表演者的第一张文档的非凡电影，好吧，如果不是这样，我们可能无法承受。这并不是说这是一部标准发行的音乐会电影。从一开始，Cave的特殊有见地的谈论他的艺术就可以证明了他，因为他将我们转向了他变成陶瓷工作室的小型研讨会。起初，他的小雕像看起来异想天开和媚俗，但后来他描述了他正在发展的系列，以及他熟悉的诅咒和救赎的主题。魔鬼是一个与洞穴清楚地识别的人物，在他的生活的各个阶段都显示出来，最终 - 在Dominik谨慎地让鼠标悬停在割时的镜头中 -curl缩在孩子的脚下，寻求宽恕。更加玩笑，尤其是在经常表现出洞穴和埃利斯之间尖刺能量的经常插曲中，这是一种刺的爱，这是数十年来的亲密友谊和肥沃的创造性冲突。多米尼克问凯夫埃利斯是怎么来的成为这样的中心合作者，在坏种子中，没有。 “他扮演了下属角色，慢慢地拿出了坏种子的每个成员，” Deadpans Cave。 “我是下一步。玛丽安妮·菲斯特尔（Marianne Faithfull）出现了为其中一条曲目贡献口语的反击，尽管她的氧气管，但在埃利斯（Ellis）听到他被称为“沃兹（Woz））时，她会感到恐惧。 。”凯夫（Cave）与他抱怨儿子伯爵（Earl）的拍摄过程的时间有关，却是自嘲的欢乐，只是被告知“停止成为这样的猫”。这些较轻的时刻对立更具反射性形式的洞穴，就像他谈论自己的博客“红色手文件”时，以及回答读者的问题如何使他“在他的本性的更好结尾”。这部电影所采用的最受限制的形式，他的声明不再通过自己的职业来定义自己。这是“丈夫，父亲，朋友，cit”的洞穴izen”首先，然后是音乐家。与多米尼克（Dominik）允许运动表演的破烂边缘一样，只有忘记了这种解构的瞬间罗比·瑞安（Robbie Ryan）的摄像机启动了它的一个浮动弧，洞穴可以揭露他的创作过程中的齿轮和曲轴，而无需降低他的创作过程音乐的可爱，有时是超越的效果。这部电影的杰出曲目之一是“好莱坞”的重复，tenebrous避开“好莱坞”的反复，讽刺的曲折说：“这是一个很长的路要走。”“我知道这是真实的”，感觉就像是在那段持续的旅程中，用宏伟和悲伤制成的歌曲中的一些简短停留的报告，以及对学习与所有这些鬼魂一起生活在恩典中的前景的奇怪感激之情。
Two cameras orbit a grand piano on a circular track. Sometimes one will catch sight of the other, passing behind the black-haired singer at the keyboard, flashing between the session violinists or gliding beyond the bearded man crouched low over his synthesizer. Though this visible stagecraft draws attention to the fabrication — stage lights pop; grips wander through, adjusting the wiring — somehow the effect of Andrew Dominik's "This Much I Know to Be True" is floaty, disembodied, hypnotic. Illuminating tracks from the superb 2019 Bad Seeds album "Ghosteen" and Cave's 2021 collaboration with Warren Ellis, "Carnage," .
In a ballroom clad in crumbling plasterwork (actually a disused Bristol factory space) Dominik stages the musical sections that make up most of the film, each one a bouquet of barbed wire, sung by Cave — with his ever-witchy charisma — like it's the last song anyone will ever hear. In between are occasional off-the-cuff interviews, as we have come to expect from previous Cave documentaries. This time, however, there is a primary focus on performance not seen in Iain Forsyth and Jane Pollard's 2014 "20,000 Days on Earth," a heightened docu-fictional account of one day in Cave's life.
And this time there is less interiority than in 2016's eviscerating "One More Time With Feeling" — also directed by Dominik — which is, if anything, a relief. That entirely sui generis 3D doc was made within and about the maelstrom of shock that followed the death of Cave's 15-year-old son Arthur. Not only is it impossible to imagine Cave replicating the raw vulnerability that birthed that shatteringly beautiful and generous film about grief, but it's impossible, having seen it, to want him to. "This Much I Know to Be True" is calmer, more controlled and removed — there is no Cave voice-over, for one thing — and if that makes it a less extraordinary film than Dominik's first doc about the performer, well, we might not be able to bear it if it weren't.
That's not to say it's a standard-issue concert film. From the start Cave's peculiarly insightful way of talking about his art is in evidence, as he guides us around the small workshop he's turned into a ceramics studio. At first his figurines seem whimsical and kitsch, but then he describes a series he's developing, and his familiar motifs of damnation and redemption resurface. The devil, a figure with whom Cave clearly identifies, is shown at various stages of his life, finally — in a shot that Dominik discreetly lets hover a moment before cutting — curled at the feet of a child, seeking forgiveness.
Elsewhere the tone can be more bantering, especially during the often acerbic interludes that demonstrate the spiky energy between Cave and Ellis, a prickly love born of decades of close friendship and fertile creative conflict. Dominik asks Cave how Ellis came to be such a central collaborator, within the Bad Seeds and without. "He took a subordinate role and slowly, one by one, took out each member of the Bad Seeds," deadpans Cave. "I'm the next to go. He's singing a lot more, I've noticed."
Marianne Faithfull shows up to contribute a spoken-word backwash to one of the tracks and, imperious despite her oxygen tube, is horrified on Ellis' behalf when she hears him being called "Woz." Cave relates with self-deprecating glee the time he'd been complaining about the filming process to his son Earl, only to be told to "stop being such a pussy." These lighter moments counterpoint Cave on more reflective form, as when he speaks about his blog "The Red Hand Files," and how answering readers' questions keeps him "at the better end of nature." Most germane to the more restrained form this film takes, there's his declaration that he no longer defines himself through his occupation. This is Cave as a "husband, father, friend, citizen" first, and a musician thereafter.
Still, in the music itself he is fully invested. In much the same way that Dominik lets the ragged edges of the moviemaking show, only for such deconstruction to be forgotten the instant Robbie Ryan's camera takes off on one of its floating arcs, Cave can expose the cogs and crankshafts of his creative process without lessening the lovely, sometimes transcendent effect of the music. "It's a long way to find peace of mind," goes the repeated, tenebrous refrain of "Hollywood," one of the film's standout tracks. "This Much I Know to Be True" feels like a report delivered from some brief stop on that ongoing journey, in songs made of grandeur and grief and a strange sort of gratitude at the prospect of learning to live in grace with all these ghosts.
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