二战期间，两个傻瓜加入了意大利军队，在一次偶然的机会中，歪打正着帮助部队赢得了一场重要的战役

二战期间，两个傻瓜加入了意大利军队，在一次偶然的机会中，歪打正着帮助部队赢得了一场重要的战役

悠斗（向理来 饰）是一个个性非常内向的少年，在班级里属于默不作声的那一挂，整日沉浸在自己的世界中。班上新上任的老师青山（盐口量平 饰）吸引了悠斗的注意，在不知不觉之中，两人开始了交换日记的举动。虽然不善言辞，但悠斗很擅长用文字倾诉感情，久而久之，悠斗向青山敞开了心扉。 　　一天，悠斗因为感冒而没去上学，担心的青山登门探望，两人独处一室，在暧昧的气氛中，青山没能控制住自己的感情，吻了悠斗。青山的吻给悠斗的内心里带来的极大的震撼，他激烈的拒绝了青山的求爱。之后，青山辞去了教师的职务，两人再也没有见过面，一晃眼三年过去。

悠斗（向理来 饰）是一个个性非常内向的少年，在班级里属于默不作声的那一挂，整日沉浸在自己的世界中。班上新上任的老师青山（盐口量平 饰）吸引了悠斗的注意，在不知不觉之中，两人开始了交换日记的举动。虽然不善言辞，但悠斗很擅长用文字倾诉感情，久而久之，悠斗向青山敞开了心扉。 　　一天，悠斗因为感冒而没去上学，担心的青山登门探望，两人独处一室，在暧昧的气氛中，青山没能控制住自己的感情，吻了悠斗。青山的吻给悠斗的内心里带来的极大的震撼，他激烈的拒绝了青山的求爱。之后，青山辞去了教师的职务，两人再也没有见过面，一晃眼三年过去。

片名原封不动挪用了一部现成电影。 　　这个过去的片名正好适合安置在对今天的一段经验的观察上面。 　　回声是过去的声音在今天的声场中的重现。 　　我们说过的话，或许过去的时间里已经有人说过。 　　我们所经受的，或许早已有人经受过。 　　回声之所以存在，因为制造回声的空间结构继续存在，而音源仍在某处震荡。 　　语言和经验都具有回声效果。 　　在今天——2020年上半年——发生的一切的背景下，重看1981年的电影《小街》，让我听到了一些过去没留意过的回声。这部“伤痕电影”在行将结束、准备提供伤口的缝合方案时，却无可挽回地使用了没有消毒过的针线。电影里的演员此刻不再是创伤个体的代表，他似乎被加害者附身了，借他之口，后者宣布了一个解决方案：“过去的，就让它过去算了……”同时为现在和未来提供了一套按摩：“你现在，不是可以无忧无虑地生活了？”风暴散去，一个永远不会再有风暴来袭的光明未来，似乎从地平线上冉冉升起。没有愈合的创口，被针脚镇压到了皮肤下面。 　　创伤经验的解决方案成了一种标配，教导人如何“驯服地走入那个良夜”。轻率的宽恕与和解由加害者做出，实际上是坦然的自我宽恕。灾难美学为这种宽恕进行了自我赋权。灾难美学已经成为一种历史手段，它自身就是灾难制造者。今天，在2020年的几个月间某一些人经过（passage，passing，passed）之后，我们不是同样听到了这一古老的创伤经验解决方案的回响？ 　　电影中允诺的明天没有到来。连这样的电影本身也没有了明天。 　　和“假如明天来临……”相比，需要担心的也许是“假如明天不来？”。 　　作为安慰剂，“明天”用于缓解真实历史运动停滞后人的焦虑症状。 　　《小街》中的“明天”今天也没有到来。

【影片简介】 　　《迁动人心》讲述的是上海中心城区四行仓库所在的晋元路地块的政府房屋征收、动迁的故事。棚户区里的2652户居民集体“辞旧迎新”，在短短一个月内，动迁居民签约率高达85%，创下上海闸北区历史最高纪录。然而这一切才仅仅是一个开始。 　　夹杂着对新生活的憧憬与不安，在利益面前新生的欲望与私心，让八十多岁的老管夫妇、孕妇付维敏、开了近20年面铺的老法师等家庭陷入到复杂而纷乱的情感里。 　　一场坎坷而艰难的“沟通之战”拉开了帷幕。政府与群众，征收组与居民，父母与子女，兄弟与姐妹，在各自的利益与情感立场，谈判、迂回、交换、妥协……期待许久的动迁事项牵动着每个人的心灵。 　　【导演介绍】 　　崔轶导演 　　1978年生祖籍苏州，北京电影学院导演专业本科，上海戏剧学院导演艺术硕士， 　　现为SMG上海广播电视台、上海东方传媒集团有限公司影视剧重大题材创作办公室导演、制片人 　　上海电影评论家协会理事 　　主要论著： 　　《电影导演的诗意调度》 　　2010年中国电影出版社出版 　　导演创作： 　　电影《笛声何处》， 　　第16届中国金鸡百花电影节开幕电影，第24届中国电视金鹰奖中短篇电视剧三等奖，中国首届MFA艺术硕士优秀作品奖（剧情类），2008年苏州五个一工程优秀奖

悠斗和青山曾是一对恋人，而今却已断了音讯。随着青山不为人知的黑幕一一揭露 ，在地下俱乐部担任店长的悠斗，开始怀疑自己深爱的男人是否值得等待，对男公关流花的感觉也从同病相怜升华成更深的情感。一件神秘的性玩具，串起了悠斗、流花、青山和柴原四人的过往与现在。这时「雨与苏打水」某位男公关接客时一桩意外杀人事件，让地下俱乐部人心惶惶，在这个追求欲仙欲死的感官世界，真相即将大白……。

Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. 　　These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves. 　　Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. 　　Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. 　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. 　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. 　　Our camera has captured for you a few aspects of a provisional microsociety. 　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. 　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. 　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... 　　Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."� 　　Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations. 　　Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. 　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. 　　Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. 　　Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. 　　Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language. 　　Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. 　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns. 　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. 　　Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. 　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. 　　Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. 　　Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. 　　Voice 2: Years, like a single instant prolonged to this point, come to an end. 　　Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. 　　Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept? 　　Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. 　　Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. 　　Voice 1: Really hard to drink more. 　　Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot. 　　Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. 　　Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. 　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. 　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point? 　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. 　　These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves. 　　Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. 　　Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. 　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. 　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. 　　Our camera has captured for you a few aspects of a provisional microsociety. 　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. 　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. 　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... 　　Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."� 　　Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations. 　　Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. 　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. 　　Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. 　　Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. 　　Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language. 　　Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. 　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns. 　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. 　　Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. 　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. 　　Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. 　　Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. 　　Voice 2: Years, like a single instant prolonged to this point, come to an end. 　　Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. 　　Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept? 　　Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. 　　Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. 　　Voice 1: Really hard to drink more. 　　Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot. 　　Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. 　　Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. 　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. 　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point? 　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.