有點(diǎn)不可思議，發(fā)現(xiàn)最終讓我難以忘懷的電影都是恐怖片。上一部讓我毛骨悚然嘆為觀止的恐怖片是《恐怖游輪》。它說的是：每個(gè)人的每一個(gè)選擇——無論你有多少次機(jī)會(huì)，多么次掙扎，最終都會(huì)在每一個(gè)關(guān)鍵的時(shí)候犯同一種錯(cuò)誤——最終萬(wàn)劫不復(fù)，指向同一個(gè)結(jié)局。

《恐怖游輪》中，支持女主走下去是對(duì)兒子的愛，導(dǎo)致走向循環(huán)的是自己血液中的煩躁和暴虐?！稛o盡》中支持兩男主走下去的是對(duì)彼此的容忍和羈絆，最終能走出循環(huán)的是對(duì)彼此的尊重和釋然。

評(píng)論區(qū)有人轉(zhuǎn)發(fā)了導(dǎo)演的訪談，然后認(rèn)為電影只有一個(gè)“樂觀”結(jié)局，呵呵，未必吧。其實(shí)原文章中根本就沒有這個(gè)意思，只是說導(dǎo)演更傾向于讓大家理解這是一個(gè) Happy Ending。大意是說他們只是講了一個(gè)破有深度的神秘的故事，他們不會(huì)直白的把所有東西擺上臺(tái)面。反正至少對(duì)兄弟而言，哥哥放下了控制欲，弟弟也勇敢的掌舵起了自己的方向盤，他們已經(jīng)逃出了無盡的怪圈——這就夠了。

同時(shí)，導(dǎo)演說，電影中已有導(dǎo)演想表達(dá)想布置的一切。所以對(duì)一部有科幻屬性設(shè)置的電影，其他任何對(duì)電影結(jié)局有其他解讀的觀影者都是正常不過的事情。從商業(yè)角度上，其實(shí)這也是導(dǎo)演故意設(shè)置的開放式伎倆，可以在后繼的故事中隨時(shí)展開新的篇章。我覺得可以肯定的是，后面還會(huì)有第三部曲的，可能會(huì)講怪圈中的人如何逃離（例如麥克和老婆如何相聚之類），但導(dǎo)演們還沒想好如何講好這個(gè)故事，總之我相信會(huì)有。如果我是導(dǎo)演，我就會(huì)有。WHY NOT?!

1、影片開始的錄像帶，是怪物寄的。兄弟兩在重啟前逃出了營(yíng)地，怪物的目的是在重啟前重新禁錮他們。怪物的嗜好就是喜歡觀察別人的悲歡離合和掙扎沖突（導(dǎo)演說這點(diǎn)上觀眾和怪物很像哈哈）。

2、哥哥的人設(shè)是控制欲+說謊者，營(yíng)地中的不明力量讓他各種恐懼，更別說控制了，所以他會(huì)帶著弟弟逃離。弟弟的人設(shè)是樂觀+認(rèn)死理，但十年來都活在被哥哥主宰的夢(mèng)魘中。錄影帶讓他意識(shí)到回營(yíng)地可能是一個(gè)逃脫的機(jī)會(huì)，所以想回去尋找答案做個(gè)了結(jié)。

3、哥哥喜歡跑步，營(yíng)地中所到之處處處透露著怪異，無不讓他無力和不安。小到村民的眼神和動(dòng)作，中到出沒的毒蛇和虎豹，大到天上的閃爍和怪風(fēng)。這些其實(shí)更像是怪物針對(duì)人性設(shè)置的異象，達(dá)到逐漸摧毀逐步控制的目的。有點(diǎn)像修煉小說中的心魔。包括兩人玩射擊，弟弟子彈沒阻擋，哥哥子彈被擋住了。包括玩魔術(shù)時(shí)其實(shí)魔術(shù)師猜對(duì)了，但哥哥睜眼說瞎話，典型屬于只相信自己想相信的人。

4、拔河的小游戲，佐證了其實(shí)弟弟是個(gè)更單純更客觀的人，顧及親情，一直容忍著哥哥無厘頭的控制權(quán)。從影片開頭弟弟反對(duì)哥哥的刷爆信用卡固執(zhí)說“我會(huì)搞定”，到路上開車哥哥蠻橫不給弟弟掌舵，床上聊天粗魯打斷弟弟的話，到最后兩人在車是否沒油的話題上，終于肯定弟弟，說出“你來搞定”。同一句話，不同主語(yǔ)，一個(gè)輪回。

5、湖中撈起的影片暴露了哥哥的本質(zhì)，從而成功離間了哥弟兩。片中怪物的設(shè)計(jì)是無所不看無所不能的。片頭兄弟在湖邊喝酒聊天時(shí)天空明顯的怪圈，可以理解為怪物無時(shí)不刻的監(jiān)控。這也解釋了哥哥在營(yíng)地外招搖撞騙時(shí)照樣被拍的錄像。

6、兩人在營(yíng)地入口路邊悼念母親，這里的對(duì)稱天空說明這里是營(yíng)地輪回世界的邊界。母親的紀(jì)念碑在其中，所以畫框歷久常新。這里的翻譯也是有問題的，弟弟說 Hold Up，是說畫框居然這么耐抗。這是開始進(jìn)入輪回世界的一個(gè)提示。最后兩人沖出生天，說明怪物的控制更多是一種心理控制，感覺可能是類似于《萬(wàn)能鑰匙》中只要你信了你就中招了的設(shè)定。車輛沖撞是一種幻想，如果慫了那就是輸了。可以設(shè)想，換做哥哥開車，他是無論如何也不敢撞上去的。

7、營(yíng)地的人們還是很好心的。雖說他們知道什么情況，但畢竟身在其中無法明言。哈爾指引弟弟去找哥哥，卡爾指引哥哥去找弟弟，還有安娜對(duì)弟弟揮手作別，最后全體復(fù)活后目送兄弟離開。不管如何，弟弟說的沒錯(cuò)，至少他們?cè)?jīng)也是伐木累。哥哥在這個(gè)問題上各種造謠中傷，確實(shí)非常惡劣。可以說如果不是弟弟，哥哥要么困在里面這個(gè)怪圈，要么困在外面的怪圈。

8，前傳《決案》我沒找到資源看不了，所以戒毒兩人組就只是覺得搞笑，暫時(shí)沒有其他解讀。不過這兩個(gè)導(dǎo)演的下一部讓人期待！小眾而深刻！為什么我覺得可以有另一種解讀，是因?yàn)樽詈筇焐系囊粡澬略拢喝绻f兩兄弟進(jìn)入了一個(gè)全新的循環(huán)，是完全說得通的，只要把怪物的設(shè)定繼續(xù)完善和加強(qiáng)就可以，再簡(jiǎn)單不過的事情。這種完全取決于導(dǎo)演的發(fā)揮?？傊治锏恼婷婺浚聹y(cè)極有可能會(huì)在下一部續(xù)作中揭曉。

9，最后幾點(diǎn)感悟：無知是福；越控制越無力；我覺得不如你覺得。

——————————————————

一點(diǎn)疑問：為何卡爾上吊后，新的卡爾復(fù)活了，上吊的卡爾不會(huì)消失？這里真心百思不得其姐！??！

看了很多下面的影評(píng)。發(fā)現(xiàn)好多人都說看不懂，并且不知所以。

所以我這里寫幾個(gè)關(guān)鍵點(diǎn)，希望各位可以帶著再看看，幫助各位更加了解這部電影。

1：兄弟2個(gè)人，是十年前逃出營(yíng)地的。也恰恰正好是十年，2個(gè)人決定會(huì)營(yíng)地看看。注意，營(yíng)地的時(shí)間輪回恰恰也是10年一次。

2：兄弟2人每次離開營(yíng)地后，都會(huì)出現(xiàn)很匪夷所思的健忘癥，2個(gè)人都不太清楚的回憶的起來營(yíng)地的事情。

3：影片最后幾分鐘，兩個(gè)人出于求生的本能，開車拼命逃離的時(shí)候，很明顯，烏鴉是撞上去后死掉的，他們開車撞上去的一瞬間，畫面也給出了對(duì)面一輛車正好也在撞上來。這說明。最后的那道壁障，小鳥既然沖不出去，兄弟兩個(gè)人其實(shí)也沒沖出去。

4：影片最后營(yíng)地的其他人看著兄弟2人離開營(yíng)地，自己卻選擇留下，很明顯，他們知道了其中的規(guī)則和不可逾越的界限。

5：本片沒有給出一個(gè)營(yíng)地之外的人物的肖像記憶，潛臺(tái)詞就是在告訴觀眾，兄弟2人在營(yíng)地之外的十年生活，其實(shí)根本記不住任何事情。

于是，本片超自然的輪回的規(guī)則出現(xiàn)了。

1：如果你選擇不離開那個(gè)神秘的范圍，你會(huì)永遠(yuǎn)保持有記憶。很明顯營(yíng)地的人都這樣選擇了，附近那些幾分鐘幾秒鐘幾個(gè)小時(shí)的輪回里的人，就無法離開，一是因?yàn)闀r(shí)間不夠，會(huì)被立刻傳送回去，二是因?yàn)樗麄儾还苓x擇逃跑還是自殺，都會(huì)瞬間復(fù)活并且傳送回起點(diǎn)。有點(diǎn)像六道輪回的畜生道，惡鬼道。

2：營(yíng)地的人時(shí)間最長(zhǎng)，可以是10年，但是你離開的話，就會(huì)迅速失去記憶，而記憶，恰恰是一個(gè)人活著的最根本的核心，所以營(yíng)地的人害怕自己失去記憶，這比在營(yíng)地里10年一次歸位，可怕多了。

3：兄弟2人 其實(shí)也根本沒有成功逃脫輪回，只不過選擇了一個(gè)較為勇敢的方式，不惜犧牲自己的記憶，來反抗這種輪回，可是即便如此，他們依舊還會(huì)每10年準(zhǔn)時(shí)回去集合一次。有一種潛意識(shí)的心理暗示和浮躁的壓力。

影片最后哥哥跟弟弟說，要加油了。弟弟說沒事，油箱一直是顯示空的，但是車子可以繼續(xù)開，沒問題的。哥哥意味深長(zhǎng)的對(duì)弟弟說了一句，這么說你全都知道了。確實(shí)弟弟都知道了。弟弟發(fā)現(xiàn)自己跟哥哥，也不過是在繼續(xù)著下一個(gè)10年輪回而已。

沒時(shí)間讀完的朋友，簡(jiǎn)單總結(jié)就是導(dǎo)演說了，結(jié)尾是happy ending，不是loop，兄弟倆逃出生天。

http://collider.com/the-endless-explained-interview/

‘The Endless’ Filmmakers on Their Trippy Mythology & Deciphering That Ending

This week, Justin Benson and Aaron Moorhead‘s The Endless rolls out on Blu-ray and digital, which means that folks nationwide are going to be unravelling the headtrip horrors of the film’s unnerving, mysterious Lovecraftian mythology and looking for some answers.Earlier this month, I published the first part of my conversationwith the filmmaking duo, which spanned from the duo’s early ideas for expanding the universe they built in their first film, Resolution, to the experience of taking the finished versionThe Endless around the world. And now that the movie has hit more theaters, it seems like a good time to serve up the spoilery portion of the interview, which dives into what to make of the film’s mysterious mythology and ending.

If you need a refresher, The Endless follows Benson and Moorhead as Justin and Aaron (yes, they’re using their real names, but no, they’re no playing themselves), a pair of bickering brothers always at odds who return to the UFO death cult they escaped as kids in search of answers. Except when they get there, they don’t find a UFO death cult at all, but a happy and healthy, if admittedly weird and unsettling, commune of people living life on their own terms. They also find something more sinister lurking in the hillsides of the remote camp — an unseen, oppressive presence that communicates through voyeuristic photographs and video clips, trapping people in time-loop prisons where it manipulates and torments them into various horrific fates for its own amusement. A frontiersman trapped in a loop of mere seconds, a man who has to kill himself every few minutes to prevent a worse fate, and the local cult, who have it relatively easy by comparison — living out a decently long three-moon loop that ends with their “ascension,” aka being shredded into bloody bits. Yikes. At least they don’t have to worry about aging.

Image via Well Go USA

And of course, there’s the return of Mike (Peter Ciella) and Chris (Vinny Curran) from Resolution,who are trapped in the bitter week-long loop of forced sobriety and failing friendship detailed in the 2002 film. The unseen evil in The Endless is the same chilling cosmic threat we met in Resolution, and the films share more crossovers thanyou’d probably imagine on a first watch, so you’re looking for more answers on The Endless, a rewatch of Resolution is the perfect place to start. Or first watch if you caught The Endless first, which works just as well.

However, if you’re looking for an easy play-by-play explanation of what goes down in the film, you’re not going to get it from Benson and Moorhead, who insist everything you need to solve the puzzles of their unconventional cinematic universe can be found right there on screen. However, the duo was more than happy to dive into the ideation behind the film’s mythology and the mindset behind ending it the way they did, so check out the interview below for a discussion of the different ways their “monster” is revealed through the characters and settings in the film, the ideas that helped inspire the unseen menace, and why the ending is more about character payoff than answering specific questions.

I know you guys have said you have this whole mythology totally down from top to tail. Was that something that you had already achieved at the time ofResolutionor did that come later?

JUSTIN BENSON: It’s definitely expanded.

AARON MOORHEAD: The rules didn’t change.

BENSON: But like withResolutionthere were … In both of these movies, there have been massive documents of things that people never see. And it’s really cool because we’re pretty sure people feel these things in the movie. The things that are into that. But like in the case ofResolution, for example. The unseen antagonist ofResolution, which is the same unseen antagonist inThe Endless, obviously. Except inResolution, the point of view of the whole film is from the unseen antagonist. There was like a massive document that went into everything about that “monster” that went to our sound designer to help them design the sound of the whole film. So that existed duringResolutionand there are things in that document that ended up more conspicuous inThe Endlessthan expanded upon. That’s just like one example of one thing.

When it comes to how nailed down the mythology is… Whenthe camera pulls back on that canyon and you see all those bubbles, the time prisons, would you be able to look at that shot and say exactly what’s happening in each one of them?

Image via Well Go USA

MOORHEAD: I can tell you how long those loops are, when they reset, and all of that. That exact area, we know it pretty well. And that’s desert, so there’s a whole bunch of poor animals. It’s probably something like that, but I wouldn’t say that we have an entire map of the world and who’s in it. But it wouldn’t be hard to theorize. We definitely have enough. So it would be pretty easy to take a good gander. And then, the little sequence that — the music trimmings for the montage that follows Justin and Aaron walking past the big totem and it’s in the sort of monolith carved monster looking thing.

BENSON: The rusty dragon sculpture.

MOORHEAD: And the rusty dragon sculpture. So those would all be individual loops that have developed their own sub-cultures and have their own interpretation of what this unseen antagonist is. Depending on how they saw it, the state of mind they’re in, and their own personalities, and all of that. And that these things they’ve created are artistic representations of how they see the antagonist. Whether they’re going specifically through the loop you see in the distance, because they do walk off, that we don’t know. And luckily, we only shot in 4K so you can’t really punch in. [Laughs]

BENSON: And what’s funny is … it’s weird how important that sequence was to us because in the movie we basically, the oldest loop that you ever see is what, 1800 something? Some kind of frontiersman like in a tent, but we have a non-existent Easter Island type subculture that developed its own kind of mythology around it. Clearly. And of course, Native Americans with the totem pole. But even the monolith to us — which is kind of the big image of the film anyways — to us. it’s supposed to scare the hell out of you when you realize that’s what that is. When you realize that, that’s the antagonist of the film as seen by people that are so ancient they’re gone in America.

In a similar vein, along with those monoliths I loved the ways we see this presence interpreted through the eyes of the characters in the film, like Lizzie’s art and Hal’s equation. What was your process of creating all these different understandings of this one being?

MOORHEAD: I mean, that’s something that did start with Resolution but it’s so small. It’s so small. It’s like literally there’s a journal running during the credits sequence of Resolution. It’s a bunch of monster sketches, and that would have been what the French researchers in Resolution were seeing it as. So that goes way back. I don’t even remember anymore what the inspiration for that was. Besides the fact that, unless you can get Giger, the guy who did Alien, unless you have a designer on that level to build a monster … We’re just trying to figure out ways that we can present it visually when we need to at least hint at something and not just show nothing, always. And in this case, we get to show it through sketches, and through sculptures, and things like that.

Image via Well Go USA

In the case of Spring, we showed a monster because the premise alluded to nature as being our designer. And since we don’t have our own Giger, we come up with these, hopefully interesting, clever ways to show an otherworldly being or “monster” and it won’t be really uneventful.

I mean if you wanted to pour a glass of wine, on a dark night and think about it. There’s this idea of every civilization has developed an idea of a deity and a God. And their interpretation of it has trickled down into our religions today. Or died out. But in the same way, their visualizations of it have looked so wildly different. And a lot of the time there’s the idea that … There’s two ideas. One is, what if it’s the same thing? What if they’re all the same thing? Of course, unified religion theory, which is kind of an idea that we play with. But we’re merging it with the idea of, what if wasn’t God? What if it was just a monster? Or what if people with porphyria were seen as vampires? You know, that kind of an idea where it’s like, “Oh, there’s nothing metaphysical about it.” Obviously, our movie’s metaphysical. But what if it was a natural phenomenon that people just tried to interpret as a god. And that’s a lot of what we’re talking about with this; they saw it as God and it’s actually just this thing.

BENSON: And as you saying that, I just remembered where it comes from. It comes from … This is a deep cut. There’s a guy named John Keel, who’s the guy who wrote The Mothman Prophecies. The book is very different from the movie. It’s not a fictional narrative. It’s sort of a journalist’s account of what happened in an area over a period of time. He wrote a whole collection of other books. The one that I’ve read is Our Haunted Planet and what it’s basically about is this concept of ultra-terrestrials.

I’m not saying it is an ultra-terrestrial in this movie, but the idea is that throughout human history whenever human beings saw something and interpreted it as being like, “Oh, I saw something. That was an angel from the bible.” Or, “That was a demon.” Or, “That was an extraterrestrial being.” “That was the Men in Black.” “That was the Mothman.” Whatever. That it’s actually always the same thing. In his case, he was arguing that it was this thing called an ultraterrestrial. That just basically, something that had been here among us, always manipulating the situation and everyone just seeing it differently depending on their culture. So it’s vaguely where the idea comes from. If you could imagine, there are so many species that we haven’t yet cataloged in the Amazon. Things like that. Imagine if there’s like an enormous blind spot that we just completely missed; one really big thing. Again, that’s not what’s in The Endless but it’s that idea.

I do have one very specific question. Are we meant to interpret at the end where we see the image of two cars coming into a collision, that it has anything to do with the car crash that put them there in the first place?

MOORHEAD: No.That’s an interesting one where we realized that was an unintentional thing. About 10% percent of people, they’ll kind of have that question of like, “Do they?”

When I watch Resolution andThe Endless back to back, something I had not picked up the first time was, they seem almost opposite ending moments. Resolution ends on a feeling of helplessness and being trapped and The Endless is all about breaking free. Was that intentionally designed for those two endings to be on opposite ends of the emotional spectrum?

MOORHEAD: Oh, that’s funny. I’m going to give you a yes and no. I think afterSpring, we got addicted to optimistic endings. I think we realized that we are just optimistic people and saying like, “You’re fucked no matter what” is just not our feeling about the way that life is, or at least the message that we want to put out into the world. And also, frankly, it more comes down to the construct of The Endless where, if you’re talking in really broad terms about the movie. If you’re talking about the fact that it says, “Break out of your cycle or be doomed to repeat history forever.” It seems like we should be showing what it looks like to break out of your cycle. And like, “Does that help you?” I don’t think it’s a moral as much as it’s an exploration of it. Because there are people that do enjoy it inside their cycle. I mean, the cult at the end. And you don’t even feel bad for them. A little bit, but it’s more melancholy. It’s like, “Oh. They kind of enjoy it there.” But I think that it would have been untruthful for ourselves if we’d ended it as dark as Resolution had ended.

BENSON: Yeah. It just seemed like we know, yes there is a very literal answer to the movie. And the answers in the film…It may take a few viewings, but everything’s very literal and all the evidence, if you want to call it that, is there. In terms of, where’s the movie ending in the sense of the supernatural, and otherworldly, and the sci-fi aspects, and all that.

But the thing that’s definite, that’s there, that was the most important to us, was just that you’d see that there was a transformation in the interpersonal relationship between these two brothers. And that you’d see that transformation in just a really understated gesture. And that the emotional satisfaction should come from that. I think anything else beyond that, we do things stylistically to kind of like poke the mystery part of people’s brains a little bit. One example is that it’s a hard cut going out. Things like that where just like you sit there and you go, “Oh, wait. There’s another piece of the puzzle to figure out.” To think about longer. It’s things like that. But there’s definitely one answer to the sci-fi part of it.

MOORHEAD: Actually going back to your questions, I just remembered when you said, “People who have viewed the movie multiple times.” There’s something that’s an interesting thing we’ve realizes. Our movies kind of exist in what people have called a Lynchian sort of universe where just things are a little off and all of that. I hadn’t seen almost any Lynch when that comparison started, but what’s interesting is, all of the answers to the movie are, I promise you, they’re in the movie. They are there. It’s not a dream logic situation. We’re not being deliberately obtuse. We just want to tell a mystery that’s got a lot of depth to it. And we just don’t want to lay it all out on the table but they’re in there. If you think about it long enough and hard enough. And you know, you might have to take a couple of, not leaps of logic but leaps of faith that like, “Okay. That is what they meant.” Something like that. But our movies are meant to be, I guess literal. That might be the word for it. They are meant to be telling a full story.

神秘，詭異，無解，壓抑，釋放?；糜X，現(xiàn)實(shí)，愉悅，悲傷，希望，絕望。麻木，激情，幻想，沉默，驕傲。浮躁，冷靜，憂郁，躊躇，不安。渴望，欺騙，謊言?？苹?，奇幻，恐怖，懸疑。焦灼，思索，無奈，無力。奇妙，危機(jī)，逃離。開始，冗長(zhǎng)，后來，有戲。沉悶，互動(dòng)，有趣。燒腦，探索，解題。神奇，友誼，創(chuàng)造，挑戰(zhàn)，奇跡。

反復(fù)看了好幾遍后..................................................................................................................................................................................................................................................................................................................................

發(fā)現(xiàn)每個(gè)人看到最后，都會(huì)問：那他們到底逃出循環(huán)沒？

有人覺得出來了，有人覺得沒有，然而根據(jù)《digitalspy》上含蓄的劇透：“one theory holds that the brothers are unknowingly trapped in a larger loop of their own（兩兄弟不知不覺地進(jìn)入了他們自己的一個(gè)大循環(huán)中了）” 。

看兩兄弟剛出來時(shí)的遠(yuǎn)景。注意那座山的山口：

之后9秒又給了反光鏡里的一個(gè)鏡頭：

不用畫圈圈都能看清楚了8？！恐怖8？！令人絕望8？！

其實(shí)，他們獻(xiàn)給媽媽的那張畫已經(jīng)說明結(jié)局。為什么這么多年過去了，當(dāng)年孩童獻(xiàn)給媽媽的那張畫還是象新的一樣？應(yīng)為這個(gè)車禍的事發(fā)現(xiàn)場(chǎng)周邊已經(jīng)被圈定為一個(gè)循環(huán)圈了，在這個(gè)循環(huán)圈里，時(shí)間早已被設(shè)定靜止了。

還有更令人絕望的：1小時(shí)31分37秒

看到那重疊往復(fù)的鏡頭沒？

首相導(dǎo)演想說的意思大家都已明了，就是人類總是在不停地重復(fù)自己錯(cuò)誤，沒完沒了，有時(shí)還是故意地不走出循環(huán)：

營(yíng)地那群人在尋找的是永恒的平靜，這群人其實(shí)來自全然不同的年代，叼著煙斗的貌似最古老，畫畫的女孩是在兩兄弟之后才進(jìn)去的，所以還不到10年，變魔術(shù)的仁兄覺得自己活了115年了....但他們?nèi)际亲杂X自愿甘之如飴。尤其是數(shù)學(xué)家，因?yàn)榻獠婚_一道難題，所以祈禱天地永恒時(shí)間靜止，可以讓他左后通關(guān)....至今未果。

而其他圈子里的一些則是心不甘情不愿的，比如帳篷里那十分十分十分古老（可能是南北戰(zhàn)爭(zhēng)時(shí)期的遺老）的憤怒的小鳥。

各圈循環(huán)時(shí)間的長(zhǎng)短也各有不同，帳篷里的好像只有一分鐘，幫助朋友解毒的邁克他們就有好幾個(gè)禮拜，邁克那個(gè)愛貼紙條的老婆珍妮的循環(huán)應(yīng)該很短，而兄弟兩的時(shí)間.....應(yīng)該是從首次離開營(yíng)地10年以后開始算的。 神棍幫的時(shí)間很是含糊，首先他們自己以月亮的數(shù)量計(jì)算，看他們把兄弟倆從小孩子拉扯到成年這一點(diǎn)看，感覺他們的時(shí)間好像應(yīng)該超過十年才對(duì)。

恐怖的事情是，這些人歲在地理位置上相距很近，但卻永遠(yuǎn)碰不上，比如畫畫妹子曾和吸毒老有過一段。但自從進(jìn)了圈后就在沒見面了，而貼條嫂嫂的老公邁克更是咫尺天涯地和她生活在同一山谷里，卻無法改變珍妮永遠(yuǎn)的悲傷寡婦的處境。行走男想要戒毒男的槍，但如果沒有外人幫忙，自己就永遠(yuǎn)都拿不到。

其實(shí)兩兄弟自己早就有了自己走不出的循環(huán)。阿龍告狀心理醫(yī)生說賈斯丁總是要做決定，每次總是錯(cuò)的，所以把人生弄到如此糟糕。那是不是這次決定要走出神棍幫的決定也依然錯(cuò)誤巨大呢？艾倫·穆爾黑德自己給Digital Spy的劇透是：“ But ultimately, we just want to make sure that by the end of the film, you feel like their interpersonal conflict has gone through a change. Because their interpersonal conflict was its own loop, in a weird little way. They kept on making the same mistakes with each other, and Aaron kept on submitting to Justin's will, and Justin kept on closing it. ”。就是說，雖然老二最終沖自己唯一的家人說了本不愿說的實(shí)話，那什么”你的決定從來糟糕“”從沒對(duì)過“....什么的，但他最終也還是遵循了老哥的錯(cuò)誤決定。他天生就是這樣懦弱的個(gè)性，必須有個(gè)強(qiáng)有力的老大依靠和指引，這也是那東西對(duì)他一直是利誘（好吃的啦，大家庭啦，女色啦，還有大麻）而對(duì)容易質(zhì)疑權(quán)威的老大就常常加以恐嚇（野獸，湖怪，地動(dòng)山搖，神秘力量代發(fā)塔羅牌什么的）。無論如何，就算在大社會(huì)里，”那東西“的力量也依然存在，不然老二又怎會(huì)收到那個(gè)阻止他去加油的郵包？這些鋪墊讓我不禁擔(dān)心，如果兩兄弟最終沖進(jìn)了自己的循環(huán)圈，且是被困在那條無止盡的公路上沒完沒了地開車那么慘？！是不是早早從了阿龍要留在營(yíng)地的意愿還好一點(diǎn)呢？

很多人說這是部燒腦劇而非恐怖片，但我覺得這就是本片革新的境界——燒腦恐怖！你會(huì)想再回頭去看一遍不會(huì)怕，越看你覺得越明白，而越明白沒你才越覺得恐怖。最恐怖的還是你最后的問題，雖然有證據(jù)顯示這兩兄弟沒走出循環(huán)，但也依然有跡象顯示，如這些被困人好像都是第一次重見兩兄弟，兩兄弟可以行走于不同的循環(huán)就好像應(yīng)該代表了他們現(xiàn)在還不在里面......等等。那么這兩兄弟到底走出來沒？

本片一開頭就已致敬美國(guó)偉大的H.P. 洛夫克拉夫特了：

連斯蒂芬金都尊其為” 20世紀(jì)最偉大的古典恐怖故事作家 “。這次，賈斯丁本森和艾倫穆爾黑得就決定把這未知玩到比斯蒂芬金的《小丑》都要狠的地步：長(zhǎng)什么樣：未知；是什么：未知；連什么時(shí)候：最后還來個(gè)無限循環(huán)的不循環(huán)的循環(huán)，讓觀眾——就說我吧，狠狠燒過好幾次腦才驚栗地反應(yīng)過來..............................................................................................................................................................................................................................................................................................................................................................................................................................................................天哪！我也跟著循環(huán)了!

從前有兩個(gè)親兄弟，弟弟比較任性，哥哥比較懂事。在他們還小的時(shí)候，有一天媽媽帶他們?nèi)コ抢锿?，路過某地的時(shí)候出了車禍，這時(shí)候正巧路過一個(gè)大叔，大叔砸碎了車窗玻璃，奮力救出了兄弟二人，可惜的是救出兄弟二人的時(shí)候母親已被大火活活燒死，大叔領(lǐng)著兩個(gè)孩子來到了自己的營(yíng)地。

月亮升起的時(shí)候，營(yíng)地里所有的人圍著篝火坐在一起，哥哥安慰著失去母親的弟弟，大叔了解到兄弟二人是母親一手拉扯大的，兩兄弟已經(jīng)無親無故，好心的大叔收養(yǎng)了兩個(gè)孩子。其實(shí)營(yíng)地周圍整個(gè)區(qū)域都有著不可思議的力量，這片土地的每個(gè)人都被困在了自己的輪回圈里，有的人輪回幾分鐘，有的人輪回幾個(gè)小時(shí)，有的人輪回幾天，大叔常說每個(gè)人都有自己疑惑，別人是無法幫助解開的，答案只能靠自己尋找，大叔沒有告訴兩兄弟關(guān)于輪回的事情。營(yíng)地里每個(gè)人都知道輪回死亡又重生的循環(huán)，大叔其實(shí)是個(gè)崇尚科學(xué)的人，他的家里有一道一直沒能解開的方程式，就像營(yíng)地里的循環(huán)是他無法解開的謎，他覺得這是一種無法用肉眼看到的存在，最后他只好創(chuàng)造了某種信仰，每當(dāng)輪回快結(jié)束的時(shí)候，大家就會(huì)舉行某種儀式，一百萬(wàn)個(gè)小時(shí)可以領(lǐng)悟一種特長(zhǎng)，無限輪回的營(yíng)地有著無限的一百萬(wàn)個(gè)小時(shí)，所以營(yíng)地里每個(gè)人都有自己精通的特長(zhǎng)。

營(yíng)地里的人都挺不錯(cuò)，有個(gè)擅長(zhǎng)設(shè)計(jì)衣服大姐姐對(duì)弟弟特別的好，眼看三個(gè)圓月又要再次出現(xiàn)，又是一次輪回吧，可是那天兄弟二人卻不見了，原來兩人想念母親，畫了一副畫帶到了出車禍的地方紀(jì)念母親，兄弟二人回到營(yíng)地的時(shí)候迷了路，越走越遠(yuǎn)，如果說營(yíng)地是輪回一號(hào)圈，那么出車禍的地方就是二號(hào)圈，兄弟兩人誤打誤撞繞出了輪回的圈子，最后又誤打誤撞回到了營(yíng)地，這時(shí)候營(yíng)地已經(jīng)輪回結(jié)束，開始新的一輪循環(huán)，做衣服大姐姐看著弟弟覺得很驚訝，竟然有人逃出了輪回，或許是年紀(jì)太小，不被虛幻所迷惑吧，哥哥發(fā)覺大姐姐看弟弟的眼神有異樣，心里覺得大姐姐可能是戀童癖吧。

時(shí)間慢慢的過去了，三個(gè)圓月又再次出現(xiàn)了，營(yíng)地開始準(zhǔn)備儀式，有天哥哥拍照回家的路上遇到了經(jīng)常出現(xiàn)在營(yíng)地周圍的怪人，怪人總是在營(yíng)地周圍走來走去，一言不發(fā)，可是今天他堵住了回家的哥哥，他讓他快跑，因?yàn)檫@里一切都在輪回，哥哥沒有當(dāng)真，可是心里卻留意著營(yíng)地發(fā)生的事情，他發(fā)現(xiàn)營(yíng)地舉行的怪異儀式可能是要讓他們一起自殺殉道，這是一個(gè)邪教!于他告訴弟弟這里的人將集體自殺，再不跑就沒機(jī)會(huì)了，于是他領(lǐng)著弟弟跑出了營(yíng)地，再一次的逃過了輪回。

兄弟兩人自小在營(yíng)地長(zhǎng)大，這也注定了他們知識(shí)方面的匱乏，所以他們只能做著社會(huì)最低等的工作，拿著微薄的收入糊口，弟弟已經(jīng)快熬不下去了，畢竟他已經(jīng)習(xí)慣了營(yíng)地的生活，某個(gè)早晨弟弟收到了一盤磁帶，弟弟拿著給車裝電池的錢，買了錄像機(jī)，磁帶是關(guān)于營(yíng)地的類容，弟弟驚訝的發(fā)現(xiàn)營(yíng)地里的人竟然沒有自殺，其實(shí)弟弟不知道每個(gè)在營(yíng)地里待過的人都會(huì)收到磁帶，比如后來哥哥在湖底找到的磁帶，自殺了一次又一次的人從地里挖出的磁帶，營(yíng)地里某個(gè)房子里更是擺滿了磁帶，其實(shí)磁帶里的內(nèi)容也正是每個(gè)人尋找的答案，弟弟的磁帶答案是營(yíng)地里的人沒有自殺，哥哥磁帶的答案是營(yíng)地里的人確實(shí)是邪教，自殺者的答案是這種自殺方式無法逃脫輪回，最終弟弟勸哥哥回到了營(yíng)地，路上的時(shí)候哥哥發(fā)現(xiàn)路的兩頭竟然有相同的景色，哥哥看出了輪回的端倪，年幼出車禍的地方，那幅畫竟然纖塵不染，其實(shí)也是一個(gè)輪回圈，在輪回圈里發(fā)生過的事情，離開輪回圈之后，記憶會(huì)漸漸模糊，所以兄弟二人已經(jīng)忘記畫的事情，回到營(yíng)地的時(shí)候，大家很熱情的歡迎了兄弟二人，并沒有責(zé)怪的意思，大叔還是以前的樣子呢，營(yíng)地又來了許多新人，哥哥答應(yīng)弟弟住上一晚上，晚上的時(shí)候哥哥認(rèn)識(shí)了一個(gè)出門尋找丈夫的女子，她告訴哥哥自己已經(jīng)在這里待了很久，至今也未能找到丈夫。后來弟弟打算永遠(yuǎn)留在營(yíng)地，兩人吵了一架之后，哥哥決定獨(dú)自離開，路上哥哥遇到當(dāng)年勸他離開的怪人，怪人剛剛自縊結(jié)束，怪人把輪回的時(shí)事情告訴了哥哥，怪人知道走出輪回的路，他要求哥哥幫他取一把槍過來，取槍的時(shí)候，哥哥來到另外一個(gè)輪回圈，原來這里是一個(gè)好朋友為了幫另外一個(gè)朋友戒毒而誤入了輪回圈，他們和營(yíng)地的人不同，他們通過自殺的方式來找到逃離輪回的辦法，沒有毒癮的男人告訴哥哥其實(shí)他很想念自己老婆孩子，分別的時(shí)候哥哥叫住了男人，他心想營(yíng)地里找丈夫的女人可能就是他老婆吧，但是哥哥沒忍心告訴他，因?yàn)樗麤]辦法逃出自己的輪回圈。吵完架的弟弟和營(yíng)地里的人圍坐在篝火旁，會(huì)釀酒的胡子大叔叫住了好心的大叔去一旁說話，他告訴大叔應(yīng)該告訴弟弟事情的真相，而好心的大叔覺得他們兄弟兩是屬于這里的，兩人發(fā)生了爭(zhēng)執(zhí)，最后胡子大叔告訴弟弟他因該遵從自己的內(nèi)心，弟弟漸漸也發(fā)現(xiàn)營(yíng)地的異樣，他詢問善良大叔，大叔沒有給他答案，弟弟決定去找哥哥，弟弟路過好心姐姐家，他離去的時(shí)候，好心的姐姐笑中帶哀的向他揮手告別，弟弟最后找到了哥哥，弟弟告訴哥哥他和好心的姐姐同床了，但是沒有啪啪啪，哥哥聽懵逼了，我也看懵逼了，是不是因?yàn)樗麄冃r(shí)候確實(shí)經(jīng)歷了割禮，所以沒有沖動(dòng)，這點(diǎn)我也不清楚。

兄弟二人回到了營(yíng)地，營(yíng)地里的人都消失不見了，這晚三圓月同現(xiàn)于天，通過磁帶回放，兩人發(fā)現(xiàn)營(yíng)地里的人都圍坐在篝火旁，天上降下一根麻繩，麻繩仿佛巨蛇般擺動(dòng)，每個(gè)篝火旁被擊中的人都消失不見，只剩破碎的衣物，兄弟兩急忙跑到車旁，因?yàn)闆]了電池，車子啟動(dòng)不了，哥哥在一旁使勁推著車，弟弟點(diǎn)著火，在最絕望的時(shí)候，車子竟然啟動(dòng)了，他們已經(jīng)來到了輪回的邊緣，許多烏鴉撞死在了那里，兩兄弟閉著眼睛沖向了無形的墻，有時(shí)候你以為是死，卻實(shí)際是生，終于兩兄弟逃出了營(yíng)地輪回圈，或許再慢一秒他們就會(huì)被永遠(yuǎn)困在里面，營(yíng)地里輪回已經(jīng)重新開始，大叔看著漸行漸遠(yuǎn)的兄弟兩，臉上有了微笑，畢竟兄弟兩是他帶大的，看著他們能逃出輪回，大叔還是很開心的。

不過兄弟兩真的逃出輪回了嗎？也許他們只是逃到了另外一個(gè)更大，持續(xù)時(shí)間更久的輪回圈，開始了新的一段輪回！生活本身是一場(chǎng)永無止境的輪回，拿星爺?shù)脑拋碚f就是吃喝拉撒睡大覺，如此反復(fù)不亦樂乎，無窮又無盡??！《無盡》的結(jié)尾處哥哥把方向盤讓給了弟弟，這時(shí)候哥哥是信任弟弟的，弟弟在整部電影里第一次做出了改變，他說他要離開這里，也就是逃離營(yíng)地，其實(shí)逃離的也是塵世里重復(fù)又重復(fù)的每一天，既然他已經(jīng)做出了改變，緊握在手里的方向盤也就是改變命運(yùn)的武器，撞破的無形墻也就是限制命運(yùn)的枷鎖，最后蝴蝶效應(yīng)引發(fā)未來產(chǎn)生變化，也就不會(huì)再出現(xiàn)片頭那段懷念營(yíng)地日子又回來的念頭，所以他們兄弟兩其實(shí)逃出營(yíng)地了，至少我是這么認(rèn)為的。補(bǔ)充一點(diǎn)，其實(shí)片頭他們雖然身處外地，但是確實(shí)是在輪回，電影開始的時(shí)候男主角收到一盤磁帶，男主以為是營(yíng)地女主寄給她的，后來女主否認(rèn)，片里輪回有種相似點(diǎn) ，那就是輪回的人會(huì)收到一盤磁帶，而且這個(gè)磁帶往往能給當(dāng)事人解惑，這個(gè)磁帶哪里來的呢？我想應(yīng)該是營(yíng)地里那個(gè)制造輪回的神秘存在做出來的，和天上掉照片一樣，片頭男主角一直疑惑著營(yíng)地里的人有沒有自殺，所以他收到了那盤磁帶，并且磁帶引誘男主回營(yíng)地，于是輪回開始！

謝謝你看完我的解析。