2022年·纪录片·平原

At 17:00 every day, Andrew, a middle-aged man, drives home from work through Melbourne’s outer suburbs in peak-hour traffic. Occasionally, he offers a lift home to a younger colleague, David. Over a year, their tentative small talk gives way to a warm friendship and open conversation within the confines of the vehicle, incrementally revealing their lives. 　　One may wonder what a three-hour film, set almost entirely in a car and shot with a fixed camera from the back, can deliver? The answer is an unexpectedly engaging and entertaining observation of the rhythms of daily life, and a catalogue of suburban worries. In sensorial terms, The Plains charts the passage of time as the seasons change. The pitter-patter of rain and the familiar cocoon of the car provide a sense of comfort and safety from the outside elements. The car is the liminal space between work and home, as the day is pondered, the night planned. Documentary elements exist beyond the windscreen, as a fiction courses through the vehicle. The Plains is a road movie unlike anything you have seen before.

每天17時，在交通尖峰時段，中年男子安德魯下班開車回家，途經墨爾本遠郊。偶爾，他會搭便車送年輕的同事大衛回家。在一年多的時間裡，他們試探性的閒聊讓位於溫暖的友誼和在車內的坦率對話，逐漸揭示了他們的生活。人們可能會想，一部長達三個小時的電影，幾乎完全以汽車為背景，從後面用固定攝影機拍攝，能帶來什麼效果？答案是對日常生活節奏的出人意料的引人入勝和有趣的觀察，以及一系列郊區的擔憂。在感官方面，平原繪製了隨著季節變化而流逝的時間。滴滴答答的雨聲和熟悉的車繭提供了一種來自外部元素的舒適感和安全感。汽車是工作和家庭之間的有限空間，因為白天在思考，夜晚在計劃。紀錄片元素存在於擋風玻璃之外，就像一部虛構的汽車。《平原》是一部你以前從未看過的公路電影。