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【9.5/10】从高概念恐怖片到末世寓言，实际是黑泽清在初互联网时代，对未来人际关系与生存状态的恐慌与猜疑，对可怖宿命的反抗，而生在“未来”的我们都知道，孤独是这个时代无法拜托的诅咒。摇移的镜头中，光影、薄雾、帘布、红胶带、废楼，黑泽清依旧以精准的视听调度营造出窒息的氛围，将观众强行拽进了他的异化空间

摇摆于纪录片和真实电影之中retraces a journey from the end of summer to deepest winter, from East Germany, across Poland and the Baltics, to Moscow. It is a voyage Chantal Akerman wanted to make shortly after the collapse of the Soviet bloc, “before it was too late,” reconstructing her impressions in the manner of a documentary on the border of fiction. By filming “everything that touched me,” Akerman sifts through and fixes upon sounds and images as she follows the thread of this subjective crossing. Unfolding without dialogue or commentary, FROM THE EAST takes the form of a cinematic elegy.