本片是60年代核战恐惧下的一部小成本末日灾难求生片，大概就讲述了一个四口之家在核战争爆发之后开始求生的故事。该片的成本极低，灾难镜头极少；几乎除了开头的闪光和一个蘑菇云的画面以外就没有任何大型灾难画面了，几乎是通过各种刻画人性来展示末日来临时的恐慌感。B级片之王“罗杰·科曼”认为这部电影的主题很激动人心，而这部电影在同时期的同类型电影当中也算是较为出色的了！ 　　片名中的“零年”（Year Zero）指的是核战爆发后旧文明终结的时间。

希腊CULT导演Nikos Nikolaidis的最后一部作品！ 　　1.a metaphorical translation of nowadays truths 　　First, I must say that this is not a typical Hollywood spoon feeding or mainstream product. The Zero Years is a controversial, extreme, unusual, outrageous, mysterious, absurd, daring, exotic, erotic and political film which belongs to a trilogy the director has named "The Shape of the Coming Nightmare". 　　I had the pleasure of discovering this gem at the Chicago International Film Festival. It challenged many of the viewers at the screening but the presence of it's lead actress Vicky Harris (she's American ?!!) fortunately clarified many of the questions that arose during an extended question/answer session after the screening. 　　The correct interpretation of the directors messages seemed dependent of the previous films of the trilogy and even more so, as Harris explained, each one of his films is only a piece of the greater canvas of this directors work. Unfortunately, only one of his previous films has been released in the United States. The rest can be found on DVD, but without subtitles. 　　Yes, the audience had mixed reactions because this IS a provocative film. These types of films are not created to be loved or hated and the director obviously was not aiming for some specific reaction. He was just pouring out his very personal beliefs without caring about opinion. Opinions are boring and we have so much of it in our world, which, by the way, is full of critics. What one thinks of a movie is irrelevant! The question should be: Did it reach your subconscious or not. Did it make you think? and these questions by the way, cannot really be answered at the time you see a film like this because there is no way you can have a concept about what it has done to you yet. If you let this film affect you - you will find it will go into your deepest-darkest part, as it did ours, and THAT is the beauty of this film. 　　It features four lead females. Four a-typical characters who's ensemble acting is so intense that you cannot resist entering "their world" which is one of: off-beat dialog, original yet ambiguous story lines, surprising plot resolutions and brave themes of sexual and political nature. And although these types of movies are usually not performance based, most of the performances in this movie will rock your mind. Harris has a film presence that is almost hypnotic. Her performance is uniquely balanced between intellectual choices and truthful emotions. She effortlessly touches you through and through (and her presence at the festival was a double verification of her talent, as one could see that in real life, she bore no resemblance to her character). Kitseli as "the leader" is fantastic! and moments coming from Maro were strong too. Christina completes the group yet seems a bit theatrical at times. As an ensemble they are all fabulous! 　　Four sterilized women working in a State-run brothel, after the decline of the "new World Order" (which the director believes is NOT in the future-it is NOW). We all see the connection yet some called it a violent film. Well, violence is a part in every mans-every day life, and on many levels. Yet no matter what we say, the movie screen is at it's bloody est when we are talking about violation of the mind and soul. Such is the case of these characters. Living in a society of repression ("They tore out our wombs and implanted fear")... "Sterilized by the State"... 　　This film is just a strong metaphorical translation of everyday truths. Yet, not for everyone to accept. 　　2.Four women, barren, under surveillance and continuous toxic control, are serving their term in a government run brothel 　　Beyond his narrative genius N.N.'s evolution turns his creations into significant (and) extra-film events. This is particularly evident in "THE ZERO YEARS" – Beyond the obvious and the implied (global dictatorship, etc.) there is a discreet and penetrating psychological analysis and observation. As we know at the end of "THE ZERO YEARS" we clearly perceive that because of the deadlock and the lack of solutions its heroines choose hell over the free open world which (however) has been invalidated. It is both a conscious and an automated choice. The women are overcome by "institutionalism". Hell is fine because we know it and it is better than a supposedly free world, which, in any event, is wholly controlled and totally not free. "I love my bonds and my torment; they are better than the unknown horror of the outside." The "noir spoke" to us many times about impassioned heroes and their bonds, characters who are terrified of the free open fields. N.N. goes beyond this film-noir convention and reaches further to approach existential philosophy (particularly that of Camus). A micro-prison inside an enormous one. Whatever we choose we are trapped and what we demand is not to get OUT but to free everything, to tear down all the barbed wire. "THE ZERO YEARS" is a chronology of the end of civilization and of urban institutions. Everything is illusion; everything is utopia and a trap. ALEXIS DERMETZOGLOU

希腊CULT导演Nikos Nikolaidis的最后一部作品！ 　　1.a metaphorical translation of nowadays truths 　　First, I must say that this is not a typical Hollywood spoon feeding or mainstream product. The Zero Years is a controversial, extreme, unusual, outrageous, mysterious, absurd, daring, exotic, erotic and political film which belongs to a trilogy the director has named "The Shape of the Coming Nightmare". 　　I had the pleasure of discovering this gem at the Chicago International Film Festival. It challenged many of the viewers at the screening but the presence of it's lead actress Vicky Harris (she's American ?!!) fortunately clarified many of the questions that arose during an extended question/answer session after the screening. 　　The correct interpretation of the directors messages seemed dependent of the previous films of the trilogy and even more so, as Harris explained, each one of his films is only a piece of the greater canvas of this directors work. Unfortunately, only one of his previous films has been released in the United States. The rest can be found on DVD, but without subtitles. 　　Yes, the audience had mixed reactions because this IS a provocative film. These types of films are not created to be loved or hated and the director obviously was not aiming for some specific reaction. He was just pouring out his very personal beliefs without caring about opinion. Opinions are boring and we have so much of it in our world, which, by the way, is full of critics. What one thinks of a movie is irrelevant! The question should be: Did it reach your subconscious or not. Did it make you think? and these questions by the way, cannot really be answered at the time you see a film like this because there is no way you can have a concept about what it has done to you yet. If you let this film affect you - you will find it will go into your deepest-darkest part, as it did ours, and THAT is the beauty of this film. 　　It features four lead females. Four a-typical characters who's ensemble acting is so intense that you cannot resist entering "their world" which is one of: off-beat dialog, original yet ambiguous story lines, surprising plot resolutions and brave themes of sexual and political nature. And although these types of movies are usually not performance based, most of the performances in this movie will rock your mind. Harris has a film presence that is almost hypnotic. Her performance is uniquely balanced between intellectual choices and truthful emotions. She effortlessly touches you through and through (and her presence at the festival was a double verification of her talent, as one could see that in real life, she bore no resemblance to her character). Kitseli as "the leader" is fantastic! and moments coming from Maro were strong too. Christina completes the group yet seems a bit theatrical at times. As an ensemble they are all fabulous! 　　Four sterilized women working in a State-run brothel, after the decline of the "new World Order" (which the director believes is NOT in the future-it is NOW). We all see the connection yet some called it a violent film. Well, violence is a part in every mans-every day life, and on many levels. Yet no matter what we say, the movie screen is at it's bloody est when we are talking about violation of the mind and soul. Such is the case of these characters. Living in a society of repression ("They tore out our wombs and implanted fear")... "Sterilized by the State"... 　　This film is just a strong metaphorical translation of everyday truths. Yet, not for everyone to accept. 　　2.Four women, barren, under surveillance and continuous toxic control, are serving their term in a government run brothel 　　Beyond his narrative genius N.N.'s evolution turns his creations into significant (and) extra-film events. This is particularly evident in "THE ZERO YEARS" – Beyond the obvious and the implied (global dictatorship, etc.) there is a discreet and penetrating psychological analysis and observation. As we know at the end of "THE ZERO YEARS" we clearly perceive that because of the deadlock and the lack of solutions its heroines choose hell over the free open world which (however) has been invalidated. It is both a conscious and an automated choice. The women are overcome by "institutionalism". Hell is fine because we know it and it is better than a supposedly free world, which, in any event, is wholly controlled and totally not free. "I love my bonds and my torment; they are better than the unknown horror of the outside." The "noir spoke" to us many times about impassioned heroes and their bonds, characters who are terrified of the free open fields. N.N. goes beyond this film-noir convention and reaches further to approach existential philosophy (particularly that of Camus). A micro-prison inside an enormous one. Whatever we choose we are trapped and what we demand is not to get OUT but to free everything, to tear down all the barbed wire. "THE ZERO YEARS" is a chronology of the end of civilization and of urban institutions. Everything is illusion; everything is utopia and a trap. ALEXIS DERMETZOGLOU

北方原野上爱与抗争的画卷 　　 　　幕府体制宣告结束后，明治维新给日本社会带来了巨大的变化。祖辈生活在四国淡路的稻田一家因为德岛藩内的政治争端的原因，被明治政府下令举家迁往北海道的静内定居。 　　 　　明治四年(1871年)，稻田家第一批移民团546名成员乘船经过了半个月的颠簸终于到达了北海道。这艘船上坐着小松原英明(渡边谦饰)的妻子——小松原志乃(吉永小百合饰)，她一直料理全家事务，此番也是整条船的主心骨。小松原英明作为先遣队提前到了静内着手开垦土地，夫妻得以团聚。 　　 　　稻田家的人燃起建设自己家园的雄心，在小松原英明的带领下，他们要在这片土地上开辟新天地。然而，北海道严寒的气候条件和茂密的原始森林跟温暖富饶的故乡判若天壤，淡路带来的农作物在这里根本无法生长。此时，第二次移民团遇到海难死伤惨重、武士阶层也因废藩置县而被完全废除、粮仓起火被烧……打击接踵而至。面对这些打击，男人们几乎都开始动摇，武士家庭出身的小松原志乃异常坚强，反而是她站出来鼓励大家，劝说众人要“在北海道生活下去”。 　　 　　绝望之后，英明等人剪掉了象征武士的发髻，起誓要跟这片土地共命运。可是，如果不能收获农作物就不可能蓄积粮食。为了学习最新的农业技术，英明决定独自前往札幌。然而志乃和自己的女儿左等右盼，却始终不见英明回来。 　　 　　英明的失踪不久，人群中发出了不和谐的声音，志乃开始被孤立。她相信自己的丈夫，于是带上女儿多恵踏上了寻夫之路。不料，途中遭遇暴风雪，母女双双倒在了雪地之中……一位美国人Edwin Dun救了母女俩，那以后的几年里，志乃一直跟Edwin Dun学习养马，她被国外的良驹深深吸引，决心自己也要在北海道养马。 　　 　　几年间，女儿多恵(石原SATOMI饰)已经长成美丽的大姑娘了，她们的牧场经营也走上轨道。丈夫不在的这几年，和阿伊奴人生活在一起的神秘男子ASHIRIKA(豊川悦司饰)一直像亲人一样帮助她们。渐渐地，志乃、多恵、ASHIRIKA之间萌生了家人一样的感情。正当移民团的开拓和开垦初见成效，大家纷纷开始憧憬好收成的时候，意外再次降临。 　　 　　政府一纸文书，命令志乃将养育的马匹上缴国家。然而，此时马匹已经是农业生产不可或缺的重要劳动力了，一旦没有了马，整个开垦工程必将陷于瘫痪。 　　 　　突如其来的大蝗灾又让庄稼毁于一旦。 　　 　　在绝望和混乱之中，人们拼命挣扎。 　　 　　他们的命运将走向何处呢？ 　　 　　谁也料想不到，英明竟突然作为政府官员从札幌回来了…… 　　 　　创作背景：一段真实的心酸逃亡迁徙史 　　 　　作品依据史实改编而成。小松原英明、志乃夫妇带领的稻田家的人被明治政府下令从四国淡路迁往北海道，这道命令背后其实有特殊的背景。江户时代，德岛藩统治下的淡路，实际上由相当于大名(相当于中国的诸侯)地位的稻田家(城堡城主)治理。正因为如此，稻田家的家臣都自诩为稻田家直属的臣下臣，而非德岛本藩臣民。然而，到明治2年，政府实行新的等级制度，将武士划分为士卒和卒族。这样一来，城主本身虽成了一等士族，而他的家臣们却都成了低了一等的卒族了。不满这一政策的稻田家于是发起了旨在脱离德岛藩的脱藩独立运动。他们的行为在德岛本藩看来就是叛乱，于是德岛武士在明治3年(1870年)袭击并火烧了稻田家官署和家臣们的房屋，致使稻田家两人自杀，当场毙命15名，重伤6名，轻伤14名，房屋损坏多间。明治政府对这次事件做出严厉处罚，德岛藩主谋剖腹，多人被流放，而为了让稻田家跟德岛分离，稻田家被命令迁往北海道。这次骚乱发生在庚午年，所以被称为“庚午事变”或稻田暴动。所以，对于背井离乡的稻田家人而言，开拓北海道静内就是毫无退路可言的背水一战。另外，电影后半登场的教会志乃经营牧场的美国人Edwin Dun也是确有其人，他在北海道从事畜牧和赛马，现在那里也有他的纪念馆。甚至包括大肆糟蹋掉农作物的蝗灾，虽然跟史实有几年时间上的出入，但终究不是空穴来风。 　　 　　幕后花絮：卫星电视直播 试映会盛况空前 　　 　　去年12月6日在东京举办了披露试映会非常值得的一提，影片的发行公司东映为了这次试映会，花费了4000万日元巨资，并引来6000多名影迷前来捧场，成为日本电影史上最大规模的首映式。吉永小百合登上舞台以后开始的记者会，东映公司利用了人造卫星同时向日本全国从北海道到九州岛岛到鹿儿岛的13个地方发送，这也是史无前例的创举。另外，在全国有十家店铺BICCAMERA电器公司的大型显示器和街头广告屏、网络传输以及日本NTT均透过高质量图像传送让全日本大约有500万人同时体会现场实感。 　　 　　记者会尽显豪华。首先是前厅聚集的众多名人映入全国观众的眼帘，大厅里大岛MICHIRU带领的30名乐手演奏的交响乐队拉开了帷幕。接着，朗诵作家阿久悠、小椋佳专门为这一天准备的诗歌，佐佐木真还演奏了长笛，然后舞台上映出了影片的镜头，继而演员们登场。吉永小百合、柳叶敏郎、石田YURIKO、石原SATOMI、导演行定勋都出席了试映会。当晚，主演在片中扮演吉永小百合丈夫的渡边谦，由于当时正在洛杉矶拍摄斯皮尔伯格执导的《艺妓回忆录》未能到场，不过他也通过可视电话向在场所有人表达了问候。 　　 　　顺便提一下，东映电影公司极尽铺张也曾招来一些非议，特别是2004年是日本遭受自然灾害比较严重的一年。但一想到东映冈田裕介社长预测票房能超过40亿，那么这些投资看来是值得的。 　　 　　幕后角色：影坛两大重量级巨星联袂出演 　　 　　今年59岁的吉永小百合是日本影坛的常青树，从1959年她14岁开始进入影视界，直到今年已经演出了《玻璃中的少女》、《红蕾白花》、《天国车站》、《华之乱》、《女电影演员》等111部电影。4年前她主演了讲述日本第一美男子光源氏的唯美古装电影《千年之恋——光源氏物语》之后，就一直没有任何演艺活动。终于，在人们热切的期盼下，吉永小百合再次返回大银幕，主演了电影《北之零年》。1月15日首映式上她感动地说，对于影片的成功，她激动地哭了，说自己“就像小学生通过了考试”。 　　 　　渡边谦(小松原英明)46岁，79年步入演艺圈，78年获演蜷川幸夫的《下谷万年町物语》主角，87年在NHK大河影视《独眼龙正宗》中一跃成名。2003年跟汤姆克鲁斯合演《最后武士》，获得日本第13届日本电影评论家大奖的最佳男配角奖，使得他的荧幕事业实现了一次飞跃。时下正进军好莱坞，出演《蝙蝠侠：开战时刻》和《艺妓回忆录》，其它主要作品包括《瀬戸内少年棒球队》、《蒲公英》、《太阳还会升起》等。 　　 　　两位主角荧幕之外的情谊颇为深厚。在渡边谦陷入跟太太的离婚官司时，小百合曾写信鼓励他，让渡边感到非常温暖；试映会上两人通过卫星可视电话连线，吉永小百合也亲切地说，“虽然时下韩国影星裴勇俊很帅，很有名，但觉得渡边君更温柔，到现在都还很怀念片中我俩的精彩吻戏呢”；渡边表示跟吉永的合作让他受益匪浅；从美国赶回来参加的首映式上，一见吉永激动流泪便迅速递上自己的手绢…… 　　 　　看点评论： 日本年度最大豪华历史巨片 　　 　　《北之零年》以明治时期北海道茂密绵延的原始森林为舞台，展开了日本明治维新以后，一群年轻人为了开垦饥寒的北海道所作出的艰苦努力和不懈奋斗的巨型画卷，其中也包含了各种人物丰富的情感，各种辛酸荣辱与爱恨情仇交织其中。 　　 　　出演影片女主人公志乃的是日本影坛巨星吉永小百合，男主角则是凭借《最后武士》享誉世界，并且即将登场斯皮尔伯格执导之《艺妓回忆录》的当红明星渡边谦(饰丈夫英明)。此外在片中担任重要角色豊川悦司、柳叶敏郎、石原SATOMI、石田YURIKO、香川照之等无一不是重量级人物。豪华的演员阵容少不了一位名将来率领，担纲本片的正是深得岩井内功心法的，自2001年的《GO！大暴走》自立门户，独步江湖，2004年更是屡出奇招，凭借一部《在世界中心呼唤爱》笑傲影坛的行定勋。值得一提的是，《北之零年》编剧亦非等闲之辈，正是曾经担任《化身》及吉永主演的《雾之子午线》编剧、正如日中天的那须真知子。 　　 　　作品从冬至夏，历时7个月去北海道拍摄外景，宽荧幕生动展现了广袤的宏大气势和大自然的真实意境。为了真实再现明治时期志乃等人的住所、田地里的庄稼以及后半部反映的牧场，所有的这些外景都是从零开始人工做成，据统计，这些行头的制作费就花掉了15亿日元。另外，该片拍摄外景的时间、主要演员外7000人(光衣服就得设计制作7000多套)的群众演员等，所有的这些都是近年来普通日本电影望尘莫及、名符其实的“超大制作”。也难怪连导演行定勋在首映式上前一天难以入眠，还在致辞时说影片能成功完成，自己“如释重负”。毕竟这付担子不轻。 　　 　　历史剧能在客观地展现历史的同时表达了浪漫爱情，影片是成功的。另外，影片中贯穿始终地讴歌了始终相信明天的坚定信念，相信这能给观众带来一些振奋和力量。正如行定勋诠释影片名字时所说：“零”并不代表空无一物，而是包含了对未来的希望，零是起点，也是新的开始。

(1979) John Pilger vividly reveals the brutality and murderous political ambitions of the Pol Pot / Khmer Rouge totalitarian regime which bought genocide and despair to the people of Cambodia while neighboring countries, including Australia, shamefully ignored the immense human suffering and unspeakable crimes that bloodied this once beautiful country.

影片主要讲述战争给给人民带来的灾难，战争不仅使人民陷入饥饿贫困，还是儿童的心理产生畸形。影片中的主角是个儿童，他把他那卧床不起、患有心脏病的父亲毒死，因为他认为父亲对社会豪无用处。事后，他又因内心不安而自杀。影片表面上把这个儿童产生杀父和自杀的心理归咎于一个老师的教育错误，实际上则是在揭露德国的纳粹主义，认为他们才是这一切罪恶的根源。

影片主要讲述战争给给人民带来的灾难，战争不仅使人民陷入饥饿贫困，还是儿童的心理产生畸形。影片中的主角是个儿童，他把他那卧床不起、患有心脏病的父亲毒死，因为他认为父亲对社会豪无用处。事后，他又因内心不安而自杀。影片表面上把这个儿童产生杀父和自杀的心理归咎于一个老师的教育错误，实际上则是在揭露德国的纳粹主义，认为他们才是这一切罪恶的根源。

这是12岁的Edmund的世界，他只知道动荡和暴力，在千疮百孔的柏林废墟中为了生存而努力。他的父亲因营养失调患了重病；哥哥以前是纳粹士兵，为避免被逮捕而躲在家里；他的姐姐则慢慢沦为娼妓。Edmund遇到了从前的老师Herr Enning，后者为他提供希特勒的演讲录音到黑市上去卖……

被导演阵容闪花了眼吧？不要点想看了 这个片子只在爱沙尼亚放映一次 就被销毁了 　　This sounds like the kind of half-brilliant, half-mad kind of film making that rarely happens anymore. It's called 60 Seconds of Solitude in Year Zero, and it's an omnibus production organized by the city of Talinn, Estonia, featuring the directing talents from around the world. Screening this August in Talinn, the film will be comprised of 60 one-minute silent shorts which will be projected outdoors on a large screen for one showing only. 　　Because afterwards, the festival organizers will burn the screen and the single existing 35 MM print of the movie. 　　The current slate of directors includes Mark Boswell, Albert Serra, Mika Taanila, Malcolm Le Grice, Kari Yli-Annala, Ilppo Pohjola, Naomi Kawase, Sogo Ishii, Shinji Aoyama, Joshua and Ben Sadfadie, and Philippe Grandrieux, with more names on the way. 60 Seconds of Solitude in Year Zero is still accepting submissions from filmmakers on their site.