第七日，第八夜

这部《第七日，第八夜》最吸引人的地方在于它极具节奏感与张力。 夏洛特·温克尔霍弗的表演堪称教科书级别，她像流水线上的机械零件一样，用毫无波澜的演技诠释了巨大的孤独感，画面中那辆被她反反复复擦拭的婴儿车，意象深刻，直戳泪点。由传奇影星莱昂纳多·科恩博格饰演的猎手阴鸷而脆弱，与比利·怀尔德的女儿朱迪斯·安德森的合作堪称教科书级别。 吕立普·范恩内斯的演技堪称神级，他凭借标志性的“中眼聚焦”诠释了一个在战争创伤中迷失的自我，演出极具震撼力。 主演乌尔里希·图库尔的表演堪称教科书级别，他用微表情将长期压抑下的焦虑与绝望演绎得淋漓尽致，没有歇斯底里却更令人心碎。如果你是硬核悬疑或公路片爱好者，这段1970年代影坛的极致飙车与飙戏之旅绝对不容错过。

This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script.　　The director Evald Schorm (1929-1988) was one of the most original members of the Czech New Wave. During the normalization era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the Na zábradlí Theater and Laterna Magika.

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