《麻辣隔壁第二季》

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“快，把那两人带来。”朱小虎含混不清地冲老二等人叫。他觉得自己在龙旭的力道下很快就会窒息。麻辣隔壁第二季涔呯編鍚?jyast)鍏嶈垂鎻愪緵鐪熷疄鍑嗙‘鐨勪笂娴稫TV鎷涜仒淇℃伅,涓婃捣澶滃満鎷涜仒淇℃伅,涓婃捣澶滄€讳細妯＄壒鎷涜仒淇℃伅,涓婃捣澶滃簵閰掑惂鎷涜仒淇℃伅,鏄眰鑱岃€呬笌浼佷笟棣栭€夌殑鏈€浣充汉鎵嶆嫑鑱樺钩鍙般€?

A megalith rises from a sandy desert – or rather, a scale model of such a landscape. “I am the archive”, says a young female voice while ominous string music nails viewers to their seats. This opening sets the stage for the narrative and figurative language of Rithy Panh’s dense mnemonic essay which uses stunning dioramas to tell a twenty-first century dystopian story. After a century of genocidal ideologies and destructive speciesism, animals have enslaved humans and taken over the world. In a wave of hope, the statues of the past have been removed but new ones are being erected to suppress the will of the people. This is now a planet of apes, boars and lions, and a zoological revolution is reversing and recreating the atrocities of the 20th century. As animal figures watch the film archives of our world, it feels as if Lumière has been transported into a film by Méliès or Willis H. O’Brien. We are all well aware that history repeats itself first as tragedy, then as a farce. The time has now come for this farce, in which “political language inhabits our dreams and consumes us”, to allow the possibility of a “graceful and tender insubordination” to emerge.

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