The story opens in Balochistan, in a small, scarcely ‘wired’ village bordering Iran and Afghanistan. Ahmad is an idealistic teacher in exile, educating the local community; his partner Haseeba, however, has spent time in jail in Tehran for the very same offence against the State. The disaccord between them is not only social but also personal. Ahmad's destiny collides with that of a family fleeing the Taliban; soon the intricate divisions of age and gender within that group will trigger other problems and entanglements – including a 'lovers on the run' intrigue that fleetingly recalls Murnau's classic Tabu (1931).
　　Across all the arresting, shifting peripeteia of its plot, Abbas Amini's film deftly dramatises the complicated question of commitment: do we commit ourselves to a political cause, a set of religious beliefs, or a person? And how do we negotiate the commitments of others, even those closest to us, when they are based on a very different value system?
　　With its sparse music score, densely naturalistic acting and unostentatious camera work, Endless Borders is almost a minimalistic suspense thriller (with Hitchcockian overtones), combined with a heated family melodrama – but it never loses sight of the serious and extremely timely issues that it raises.
　　源自：https://iffr.com/en/iffr/2023/films/endless-borders

 1 ) （附資源）《無盡的邊界》丨在逃亡與承諾之間尋找自我丨第52屆鹿特丹國際電影節(jié) 大銀幕獎

電影一開始，就把我們帶到了伊朗和阿富汗邊境的一個小村莊，那里的生活條件挺艱苦的。主人公阿赫瑪?shù)率莻€理想主義的教師，他在異國他鄉(xiāng)教書育人，但他的伴侶哈西巴卻因為同樣的事在德黑蘭坐過牢。

他們之間的矛盾，不僅僅是社會層面的，更是個人層面的。

阿赫瑪?shù)碌拿\和一個逃離塔利班的家庭交織在一起。這個家庭內(nèi)部的年齡和性別差異，引發(fā)了一連串的問題和糾葛。這里面甚至還有一段逃亡中的戀人故事，讓人想起了默瑙的經(jīng)典電影《禁忌》。

幾乎極簡的音樂配樂、自然主義的表演和低調(diào)的攝影手法，巧妙地講述了一個復雜的承諾問題：我們到底應該對什么做出承諾？是政治事業(yè)、宗教信仰，還是某個人？我們又該如何處理與我們價值觀完全不同的身邊人的承諾？

有種感覺，就是生活有時候真的很復雜，我們每個人都有自己的信念和選擇。但不管怎樣，我們都要面對自己的選擇帶來的后果，無論是好是壞。

總之，這部電影給我的感觸挺多的。

它讓我重新審視了自己的生活，也讓我對生活有了更多的感悟。如果你有時間，我建議你也去看看，說不定，你也會有不一樣的收獲。

文章來源：電影咖啡 覺得值得一看，想看原片的可以去公眾號：電影咖啡 免費無套路，不用謝