Vintage Violence is an absurdist crime thriller for phone addicts
Vintage Violence is an absurdist crime thriller for phone addicts
《Vintage Violence》：一部为“手机成瘾者”打造的荒诞犯罪惊悚片
There are a lot of movies that have tried to seamlessly integrate modern tech — text messages, livestreams, etc. — into their storytelling. Some of the most novel attempts have been in the genre space, like the Twitch-style horror flick Deadstream. But the most chaotic to date might just be Vintage Violence, an absurd crime thriller with lots of blood, jokes, and screentime.
有很多电影试图将现代科技（如短信、直播等）无缝融入叙事中。其中一些最具新意的尝试出现在类型片领域，比如 Twitch 风格的恐怖片《Deadstream》。但迄今为止最混乱、最疯狂的可能要数《Vintage Violence》，这是一部充斥着血腥、笑话和屏幕时间的荒诞犯罪惊悚片。
I was able to catch Vintage Violence, the latest from director Eugene Kotlyarenko, on my fifth day at the Toronto International Film Festival. Kotlyarenko has previously explored our hyper-connected culture in 2020’s Spree, a movie in which Stranger Things’ Joe Keery plays a rideshare driver who starts murdering passengers while livestreaming the crimes. But Vintage Violence takes things a step further by trying to replicate what it’s like to constantly be on your phone as the movie plays out. It’s a lot to take in, but I really enjoyed it. Unfortunately there isn’t a trailer yet to give you a better sense of how things work onscreen, but I’ll make sure to share it when they do release one.
在多伦多国际电影节（TIFF）的第五天，我有幸观看了导演尤金·科特利亚连科（Eugene Kotlyarenko）的最新作品《Vintage Violence》。科特利亚连科曾在 2020 年的电影《Spree》中探讨过我们这种高度互联的文化，在那部电影中，《怪奇物语》的乔·基瑞（Joe Keery）饰演一名网约车司机，他在直播犯罪过程的同时杀害乘客。但《Vintage Violence》更进一步，试图重现电影播放时那种时刻盯着手机的感觉。虽然信息量很大，但我非常喜欢。遗憾的是，目前还没有预告片能让你更直观地感受屏幕上的呈现方式，但一旦发布，我会第一时间分享。
Vintage Violence was one of three films I took in on day 5 of TIFF 2026; the others were a 4K restoration of a cult classic and a devastating drama that’s on its way to Netflix. Here are my thoughts on all three.
《Vintage Violence》是我在 2026 年多伦多电影节第五天观看的三部电影之一；另外两部是一部邪典经典的 4K 修复版，以及一部即将登陆 Netflix 的沉重剧情片。以下是我对这三部电影的看法。
Vintage Violence
《Vintage Violence》
From the premise alone you can tell this movie is ridiculous. Carter (Cole Sprouse), a disgraced MrBeast-style influencer, finds a cache of vintage Levi’s while livestreaming, and one of his fans, Izumi (Kiko Mizuhara), suggests he comes to Tokyo to sell the denim for some big cash. When he gets there, just about everyone is running some kind of scam — pretty quickly the yakuza get involved, including an enforcer with a prosthetic middle finger — and things play out like a toned-down, but still brutal and bloody, Takashi Miike film. But what really elevates Vintage Violence is the way it constantly displays what characters are doing on their phones right alongside the main film. That means everything from sending text messages to livestreaming to listening to whale sounds to relax. It can get chaotic and a challenge to follow — at one point I was trying to read the chat on a Kick stream while an action scene played out beside it — but that’s also kind of the point.
单从剧情设定就能看出这部电影有多荒谬。卡特（科尔·斯普罗斯饰）是一位名誉扫地的“MrBeast 风格”网红，他在直播时发现了一批复古 Levi’s 牛仔裤，他的粉丝之一泉（水原希子饰）建议他去东京把这些牛仔裤卖个好价钱。当他到达那里时，几乎每个人都在搞某种骗局——很快黑帮就介入了，包括一名戴着假中指的打手——整个过程就像是一部节奏稍缓、但依然残酷血腥的三池崇史电影。但真正让《Vintage Violence》脱颖而出的是它在主画面旁不断展示角色手机内容的方式。这意味着从发送短信、直播到听鲸鱼叫声放松，一切都呈现在屏幕上。这可能会让人感到混乱且难以跟上节奏——有一次我试图阅读 Kick 直播间的聊天记录，同时旁边还在上演动作戏——但这正是电影的精髓所在。
Ken Russell’s The Devils
肯·罗素的《群魔》（The Devils）
The Devils is one of those cult classics I’ve always meant to watch but never got around to. But this new 4K theatrical rerelease was the perfect excuse. First released in 1971, The Devils is a surreal and disturbing account of a witch trial in a small, independent town in 17th-century France. Run by an impossibly handsome priest (Oliver Reed) who openly defies a powerful cardinal, the town soon descends into pure hysteria following reports of demonic possession, which the church seizes on in order to oust the priest. This version is not only a remaster but also a director’s cut — it’s rated NC-17 — and while I can’t speak to what’s new since I hadn’t seen it before, I will say the film rarely shows its age, with enthralling and disturbing sequences merged with a poignant story about the dangers of mixing politics and religion. And in 4K the stark architecture and uncomfortable violence really pop on the big screen.
《群魔》是我一直想看却从未看过的邪典经典之一。而这次全新的 4K 院线重映是一个完美的契机。该片于 1971 年首次上映，讲述了 17 世纪法国一个小镇上发生的超现实且令人不安的猎巫审判。小镇由一位英俊得不可思议的牧师（奥利弗·里德饰）管理，他公开反抗一位权势滔天的主教。在出现恶魔附身的传闻后，小镇很快陷入了彻底的歇斯底里，教会则借此机会将牧师驱逐。这个版本不仅是重制版，还是导演剪辑版（被评为 NC-17 级）。虽然我没看过原版，无法评价新增了什么，但我可以说这部电影几乎没有岁月的痕迹，引人入胜且令人不安的片段与关于政治和宗教混杂之危险的深刻故事完美融合。在 4K 画质下，冷峻的建筑和令人不适的暴力场面在大银幕上显得格外震撼。
Gentle Monster
《温柔怪兽》（Gentle Monster）
Marie Kreutzer’s latest feature is a difficult watch. It follows a young family that is torn apart when the police arrive at their country home one day to seize the father’s digital devices as part of a CSAM investigation. The story is primarily centered on the mother, Lucy (Léa Seydoux), a pianist who struggles with accepting a truth that threatens to upend her entire world. Gentle Monster does a remarkable job of slowly taking you through Lucy’s complicated, messy, and constantly changing understanding of the situation, but what really makes it work is Seydoux’s raw and unnerving performance, which oscillates between wishing the problem would go away to doing anything she can to protect her son. It’s a great film, but one that’s certain to leave you unsettled.
玛丽·克鲁泽（Marie Kreutzer）的最新长片是一部令人难以下咽的作品。故事讲述了一个年轻家庭在警察某天来到他们的乡间别墅，以调查儿童性虐待材料（CSAM）为由扣押了父亲的数字设备后，整个家庭分崩离析。故事主要围绕母亲露西（蕾雅·赛杜饰）展开，她是一位钢琴家，在接受一个足以颠覆她整个世界的真相时感到痛苦挣扎。《温柔怪兽》出色地引导观众逐步了解露西对局势复杂、混乱且不断变化的认知，但真正让电影成功的是赛杜原始而令人不安的表演，她在“希望问题消失”和“不惜一切代价保护儿子”之间摇摆不定。这是一部伟大的电影，但注定会让你感到心神不宁。