The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R.
17/8/2021 @ CC Victoria。在今年奧運年看關於香港運動員的電影確是特別有感覺。故事著墨在香港運動員的現實困境而不是單純賣慘/雞湯值得一贊，雖然劇本仍有砂石(Locker的弟弟和鍾雪瑩的方Sir妹妹兩個角色的作用完全就是工具人)，另外三姑並未有因為同時擔任監製而刻意把戲份放在蘇媽上也是值得加許的。其實中段少年版蘇樺偉的故事比較感動，後段成年版雖然拍出了運動員面對經濟負擔和前途問題，但又開始跌入拋出大量金句的煽情手法令感動位不夠自然。
84'出世输不代表一世输🇬🇩
#2021北影节#虽然专门设置只在杜比声影厅放映，可终究敌不过各路观众发出的各种嘈杂之声。加上太多没有重点的大全景，和相对略显快速的剪辑和明暗场景切换（总是还没能沉浸于这个镜头就切到了下一个），无可奈何的走神了，到最后也没能再看进去。 却在某一天突然明白了洞与老人的联系，或许洞就意味着人的一生，或是任何未被人所全知的事物？当对它的探索愈发深入，对它的了解愈加明晰，它的生命也即面临终点。
赶场晚到了20多分钟。影院的椅子很舒服，洞里的探险和声音设计容易沉浸其中，1个小时很快就过去了。没看够，进片尾字幕时，一点都不想走。我对旁边喜欢的男生说:「太舒服了，咱俩今晚就睡这吧。」靠在他肩膀上，赖在电影院很久。
#20210928 BJIFF 古往今来，篝火旁唱歌谣的场景就是坠动人的。（影迷朋友们说坐后排等于少看一半呜呜呜
疫情前，家附近有个康复中心，小区里住着些为此而来的脑瘫儿童家庭，挺多次看到一些妈妈或奶奶或姥姥带着孩子在楼梯间艰难地练习走路，每次都会不由自主的鼻酸。那些孩子，能自己走路已经很不容易，更何况是站在残奥的跑道上。所以我还挺喜欢这部戏的，谈不上什么深度，但也是挺流畅挺准确了，母子之间有好几场戏还让人挺触动。三个年龄段饰演苏桦伟的演员都非常棒。
其实觉得信息量很大，从牛看向洞穴到人进入，有些上帝视角看人永恒的冲动与未知和重力抗衡。探照灯转动显露不同形状材质的三维空间再被压平在二维屏幕上；从身体感知和测量尺度结合想象补完空间形状，抽象成图像记录，饰以线条和阴影表现质感，graphical document as a device to legitimize. 人造物与声音在洞中的侵入感，人带来的帐篷与生活痕迹并置旁边不变的牛群。老人的拟声呼唤被嘲笑后寂静，人也从树下消失，最后一场大雾又带回了老人的呼唤声。一个人在无声洞穴的孤立感等两个人或者有沟通就消失了。电影里人们极少的沟通不是面向观众的，反而更想与电影外的同伴交流确认，怕忘记自己的联想。亮一点的时候观众也像在望着柏拉图洞穴影子吗。 NYFF59
爸爸隐形人，弟弟工具人（心疼）。梁仲恒演得很不错。
我坐在第一排，以仰视的姿态尝试读出点什么，仔细捕捉着所有的声音。我不知道自己看懂没有，又或许这部电影，本身就没有标准答案。
原生态的偏远山区，垂垂老矣的牧民。云海、山谷、岩层、草场，全景拍得很美，节奏舒缓，让人不自觉屏住呼吸（从而缺氧睡去）。
8.5 几乎抽离剧情、台词，辽阔而俯瞰的远景成为最重要的语言。人类文明的纸燃烧，下坠，在空冥的洞道里化为星火，熄灭。最震撼内心的是，再深的洞穴也终有尽头，而人的生命有共振，还有回响。
在三十分钟的屏保展示之后，“洞”让电影豁然开朗起来。无配乐，无对白，全程固定机位，平均镜头时长都在20秒左右
广告片+大光圈的拍法，加上过溢的配乐，无时无刻不提醒你这是一部很煽情的商业制作，但它也确实很诚恳。总体不功不过，张继聪难得地没有成为金句张sir，而吴肇轩是怎么做到越混越捞的地步的。观感类同于韩影马拉松，所以这里再喊包再落泪都有限。吴君如演这类角色也都快有些程式化的表现了，也算是交足功课吧。
屏幕太大，眼睛看不过来了，多亏导演每个画面都要定住十秒以上
很无聊的互文，一定要大屏幕，但大屏幕也不会让你爽到
总感觉如果只是讲这些道理，未必太浅了些
剧情稳健，选角合适，各种好哭。剧作挺聪明的，第一幕写接力，中点后写揾食。片尾原型好帅，可惜这样完美的男孩也依旧并不是多数女孩的选择。三个年龄段的男主都演得好。音乐太满了。
每一个片段都有很感人的点，剪辑在一起却觉得很断片，不知道为何。励志是真的很励志，残奥果然展示的都是最不屈的人性。
北影节一天之内的第三场了，看之前还在担心会不会睡，结果什么啊简直看着太抓眼球太爽了，用镜头语言跟极牛逼的音效把地洞里促狭，深邃的空间感表现得淋漓尽致；在巨幕看4K摄影机拍的意大利风光简直不要太过瘾，绝对是我今年看得最大饱眼福的一场电影，不看白活！
纪录片形式的电影，几乎没什么对白，大量的空镜头，把洞穴探险和人的生命结合在一起，给观众留下无尽的思考。
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