影评：‘不留痕迹（Leave No Trance)’是一个非常美式的关于生存的故事

By Manohla Dargis
作者 Manohla Dargis
June 28, 2018
2018年6月28日

The dense green foliage that surrounds the man and his daughter in “Leave No Trace” seems to hold them as if in sheltering arms. It is a blissful, serene scene, one set to the sounds of human movement and the familiar natural buzzing, chirping and whirring. The tall mossy trees and carpet of ferns suggest that it’s the Pacific Northwest, somewhere deep in the woods. Father and daughter seem to be camping — there are tarps as well as a fire pit, though no car or other people in sight — but then the girl sits on a plastic milk crate and the two settle into the site they call home.
在“不留痕迹”中茂密的绿叶环绕着男主和他的女儿，看起来像是把他们抱在怀中。这是一幅幸福祥和的景象，只有人移动发出的声音和熟悉的自然界的嗡嗡声，叽叽喳喳和呼呼的声音。高大的布满苔藓的树木和蕨类覆盖的地表揭示了这是太平洋西北地区的森林深处。父亲和女儿似乎在露营——有帐篷和火坑，尽管视野中没有汽车和其他人——但随后女儿坐在塑料牛奶箱上，两人安置在他们称为家的地方。

The director Debra Granik has a gift for cinematic spaces that are vibrantly, palpably alive, and for putting you in places, whether modest homes or the great outdoors, that make you feel as if you’re standing right alongside her characters. In “Leave No Trace,” she immediately sets you down in a forest that’s so inviting, so tranquil, that it seems like utopia and all the possibilities that wistful, elusive ideal implies. Look, she seems to say as the camera pulls up and away — and cuts the two human travelers down to humble size — look at all this grandeur, all this unspoiled beauty. Don’t you want in?
导演Debra Cranik对拍摄电影空间非常有天赋，充满活力的，栩栩如生的，仿佛将你带到那个地方，不论是温馨的家园还是宏大的室外场景，让你感觉仿佛就站在她的角色身旁。在“不留痕迹”中，她可以立刻将你带入旖旎宁静的森林中，就像一个乌托邦和所有飘渺的理想中描述的那样。 看，她似乎在相机拉起来推远时说，并将两个人类旅行者裁剪成不起眼的尺寸，看所有这些宏大，所有的不染尘埃的美丽。难道你不向往吗？