打扰了。有谁能给我翻译一下映后胶片老师在说些什么吗：）

4.5，富有趣味性地以多种形式探索景深与运动频率的联系。结尾的两场戏有所失谐，刻意地与最惊艳高光一场的对白对应，刺破了原本统一的情境组织方式。

In this film the influence of Bresson is very obvious. I’ve had a long relationship with the films of Bresson—I’ve known them since I first started to make films. The language he created is impossible to use without thinking of him. But I’ve had to make many films to get to the point where I can do parallel things without being afraid that someone will say this is a copy of Bresson, because it is something else. But it took time to feel free enough to do that. //Cronk, J. Interview: Angela Schanelec [EB/OL].2017//布列松 电影之神（盲目吹

反复强调“进入”的概念，从镜头外的世界“进入”镜头所对准的现场，在静态凝视中打通空间：气定神闲的，满怀心事的，焦躁难安的， 怒火中烧的，目的明确的，意识模糊的。人物在一次次“进入”的试错和训练中寻找家园，那个得以让自己舒适、松弛、平和、直到沉沉睡去的极乐世界。可究竟是一种寻找，还是一种躲藏？藏在画廊，藏在换衣间，藏在哈姆雷特的戏剧中，藏在杳无人烟的山野中。

Hamlet德语选段. David Bowie的Let‘s Dance，选用了M. Ward的版本。