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)爭時(shí)期的遺老）的憤怒的小鳥。

各圈循環(huán)時(shí)間的長短也各有不同，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。

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，這也是那東西對他一直是利誘（好吃的啦，大家庭啦，女色啦，還有大麻）而對容易質(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!

人類最古老、最強(qiáng)烈的感情是恐懼，而最古老、最強(qiáng)烈的恐懼，是對未知的恐懼。不愧是哥倆的自編自導(dǎo)自演，劇情的展開和推進(jìn)，非常的順暢，剪輯手法到位，飽滿的劇情與角色，哥倆的表現(xiàn)也很不錯(cuò)。這讓我想起了逃出絕命鎮(zhèn)和仲夏夜驚魂，習(xí)以為常的日常中的異常，在平緩的和諧氛圍中又透露著一絲絲的詭譎，在一絲絲的深入骨髓，一絲絲的勾引著你。而主角那種帶有克制的質(zhì)疑與不適感，真的很符合這凝滯的氣氛，細(xì)細(xì)瑣瑣的線索，引導(dǎo)著劇情前進(jìn)，擦拭著層層的迷霧。漸漸地，異常，變得愈多愈明顯，迷者愈迷，疑者愈疑。迷霧中的端倪，朦朦朧朧，但是，沒有那種矯情的故弄玄虛。吻合克蘇魯?shù)囊磺?，迷霧一樣，夢幻一般，高維不可具象化，這就是克蘇魯，用抽象的羅夏墨跡來形容克蘇魯，怪貼切的，相比星之彩，這部更加深沉含蓄與耐人尋味。最后也終于理解了，沒有所謂邪教，沒有對錯(cuò)與惡意，只是在無盡的輪回中的，失去意義的無趣，眼底的深哀與苦中作樂，以及仍不忘給你的善良與忠告。飽含哲理的話語，那一幕相隔的輕輕一揮，佇立火中不屈的身影，其中味道萬千。而果然，與開頭相呼應(yīng)，朋友之間會(huì)相對頻繁的向彼此傾訴自己的感情，而兄弟姐妹則會(huì)等待一個(gè)更為方便的時(shí)機(jī)，比如臨終之前。兄弟倆再次定義了彼此，逃出生天，伴隨著成員們眼中的期盼與安靜的轉(zhuǎn)身，而轉(zhuǎn)身后，面對成員們的又是無盡的輪回?，F(xiàn)實(shí)中的你，面對虛幻時(shí)，你會(huì)怎樣選擇呢，瞬間與漫長，你會(huì)怎樣選擇呢，這樣不可逆的選擇，會(huì)心動(dòng)嗎，會(huì)后悔嗎。該作對于時(shí)空以及克蘇魯?shù)拿枥L，伴以演員們出彩的表現(xiàn)，相當(dāng)生動(dòng)令人印象深刻，這無盡時(shí)空輪回，對比著現(xiàn)實(shí)中歷史的不可逆，發(fā)人深思，這直到死亡的日復(fù)一日，也是重復(fù)的輪回嗎，你也在苦中作樂嗎，你充滿希望還是無奈呢，抗?fàn)庍€是屈服呢，我們的生活中，存在深淵嗎，深淵是什么呢，我們深陷其中無法掙脫嗎，也許，答案就像那未解的方程式吧，哈哈哈。深淵，一直在凝視著你

神秘，詭異，無解，壓抑，釋放。幻覺，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?？释?，欺騙，謊言。科幻，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，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。

兩兄弟最后發(fā)現(xiàn)車沒油了還能開，應(yīng)該是沒逃出？還有兩兄弟去到一個(gè)房子時(shí)沒人離開后，有個(gè)拍攝到他們的錄像帶怎么自動(dòng)彈出了？

人類最古老最強(qiáng)烈的感情是恐懼

而最古老最強(qiáng)烈的恐懼是對未知的恐懼

霍華德●菲利普●洛夫克拉夫特

朋友之間會(huì)相對頻繁地向彼此傾訴自己的感情

而兄弟姊妹則會(huì)等待一個(gè)更為方便的時(shí)機(jī)比如臨終之前

無名

沒時(shí)間讀完的朋友，簡單總結(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.

無盡，Endless。要怎么解釋呢，是魔幻的Loop圈，還是殘酷的現(xiàn)實(shí)人生。

關(guān)于神秘的cult組織

電影的背景是做著清潔工工作的兄弟二人，收到了一盒神秘的錄像帶——原來是是10年前他們曾經(jīng)逃離的cult camp寄來的錄像，向觀眾揭開了10年之前兄弟倆的“秘密”人生。

這種神秘組織的結(jié)構(gòu)，乍看會(huì)讓人聯(lián)想到90年代中期日本的奧姆真理教。一群人，跑到窮鄉(xiāng)僻壤的地方，脫離原來的“原生家庭”，建立起新的人生秩序。遠(yuǎn)離資本主義社會(huì)的分工制度，依靠簡單的勞作技巧，在小團(tuán)體中過著”樸素安穩(wěn)“的生活。就如同電影里的一句話”It smells good“。

電影里的這個(gè)”世外桃源營地“，是電影主人公——哥哥Justin和弟弟Aaron（題外話，名字使用了演員的真名）10年前逃離的地方。10年前當(dāng)哥哥帶著年幼的弟弟離開營地時(shí)，還造成媒體的一時(shí)轟動(dòng)，讓這個(gè)營地瞬間”臭名昭著“，迅速被世人貼上了邪教的標(biāo)簽。10年過去了，兄弟兩人的人生卻并不盡如人意，事業(yè)上做著毫無意義可言的清潔工作，感情生活也常常因?yàn)樵?jīng)的”黑歷史“而頻頻受挫。

此時(shí)收到的錄像帶，讓弟弟Aaron提出要再回一次營地的念頭。在Aaron的記憶力，camp充滿了美好的回憶；而這些”美好“在哥哥Justin眼里都是被distorted過的，那是他10年前奮進(jìn)全力掙脫的牢籠。然而為了能讓弟弟重振生活動(dòng)力，Justin答應(yīng)了”故地重游“的提議。

Cult組織的核心leader又是誰呢？是營地所有人都在追求的Higher Power。就是這個(gè)Unknown的Higher Power，讓這里的人如同手足一般的生活，哦不，是比兄弟手足更加祥和的生活狀態(tài)。這里仿佛不存在“私欲”，不存在“占有”，所有人都在尋找或是等待Higher Power的指令，仿佛那里有著最高的智慧，指向幸福的生活。

對了，在神秘的cult圈，某些概念會(huì)有他們自己的定義。自殺不是suicide,而是ascention，很妙吧。此處省去1000字……

關(guān)于loop圈

就當(dāng)觀眾開始以為導(dǎo)演要討論邪教的時(shí)候，故事峰回路轉(zhuǎn)，天空出現(xiàn)了兩個(gè)月亮。

”這不是村上春樹的1Q84嗎？”心理無數(shù)的疑問劃過。1Q84談的也是邪教，也出現(xiàn)過跨越時(shí)空的“界域”，最關(guān)鍵的是，1Q84的世界就有兩個(gè)月亮。

當(dāng)我以為導(dǎo)演偷懶偷故事的時(shí)候，兩個(gè)月亮變成了三個(gè)月亮。更神奇的是，還出現(xiàn)了類似于Tim Burton佩小姐的奇幻城堡里的Loop 圈。更為復(fù)雜的，這里的Loop的界限有些是人為創(chuàng)造的，而有的如同上文的cult組織，任由一個(gè)Higher Power來決定第三個(gè)月亮到來的時(shí)間，也就是Loop的界域。

電影從此走向超現(xiàn)實(shí)魔幻題材，一掃開始的文藝腔，取而代之的是上吊的慘白面孔，爆裂的血漿，和不停返回起點(diǎn)的時(shí)鐘。當(dāng)觀眾也開始在電影中迷路時(shí)，導(dǎo)演稍稍給了我們一點(diǎn)暗示。那些自主性選擇自殺的人們，他們有著更貼近人類的氣息。他們會(huì)暴怒，會(huì)嘲諷，會(huì)感嘆，會(huì)無奈，這是與之前的營地組織成員最大的不同。那些逃不出loop圈的人，他們的生活雖然不可避免地重復(fù)，但是他們卻堅(jiān)持要用自己的雙手為這個(gè)輪回的時(shí)空劃出界限。

相反地，營地組織的成員則是等待第三個(gè)月亮月圓之時(shí)，大家圍成了一圈，等待higher power的“解救”。

關(guān)于兄弟恩怨

當(dāng)然了，此時(shí)的弟弟Aaron還是執(zhí)著地要回到營地生活。在他看來回到現(xiàn)實(shí)生活也是每天的死循環(huán)，也是毫無意義的生活。當(dāng)你感嘆，哎呦，弟弟怎么活得那么悲觀啊，恭喜你，你已經(jīng)摸到了導(dǎo)演想要表達(dá)的核心了。

從文藝片走到驚悚片，再到科幻片，導(dǎo)演終于要拍醒觀眾，慢慢把把故事主旨拋出了。

當(dāng)他們第三次走回營地，第三只月亮已經(jīng)滿月了。營地里人去樓空，兄弟二人走入了那個(gè)一直被封鎖的屋子，里面不是怪獸也不是被囚禁的成員，而是滿眼的錄像帶，記錄了營地一切的錄像帶。他們看到了營地成員走向毀滅的最后一刻。整個(gè)營地都被那個(gè)Higher Power撕毀，兄弟二人出于求生本能火速驅(qū)車逃離。

然后導(dǎo)演在這里設(shè)置了一個(gè)小trick。車子發(fā)動(dòng)不起來了，哥哥一如往常要堅(jiān)持做點(diǎn)火發(fā)車的那個(gè)人，弟弟卻說讓自己來試試，此時(shí)此刻，哥哥Justin在危急時(shí)刻和弟弟調(diào)換了位置（哇，導(dǎo)演這個(gè)轉(zhuǎn)變真的有點(diǎn)突如其來?。?。最終弟弟對哥哥”深情告白“后（可能感動(dòng)了上蒼了吧，或者感動(dòng)了編?。?，車子發(fā)動(dòng)了……然后結(jié)局么，就是成功回到了現(xiàn)實(shí)人生。

此時(shí)我才突然恍然大悟，弟弟為什么會(huì)對人生那么悲觀（雖然悲觀主義者很有可能是天生的）。弟弟Aaron人生的所有決定都是Justin’s choice，而不是Aaron‘s choice。對于弟弟而言，他人生的一切都是哥哥幫他決定的，從10年前的逃離營地，到后來的清潔工工作，Aaron 的人生不可承受之輕便來自于這種人生的被動(dòng)性。當(dāng)你的人生都是別人幫你選擇的時(shí)候，你當(dāng)然會(huì)把責(zé)任都推到對方頭上，代償便是你永遠(yuǎn)無法體會(huì)人生真正的動(dòng)力。

當(dāng)方向盤不在自己手上，你當(dāng)然很難有動(dòng)力去相信沙漠會(huì)變成綠洲，你只會(huì)怪那個(gè)開車的人是白癡，毀了自己的旅程。哥哥呀，Loop圈和三個(gè)月亮都是幌子，我要的是My Choice啊。