除了白人女孩長(zhǎng)得還不賴(lài)，兩個(gè)女孩身材還不錯(cuò)，里面的說(shuō)唱還挺帶感，其他什么都沒(méi)看到。大家說(shuō)的幽默，沒(méi)看到，除了那個(gè)有點(diǎn)“二”的男友跳樓受傷有點(diǎn)搞味，是不是字幕翻譯的原因。

故事是講，白人女孩在一個(gè)簡(jiǎn)餐吧遇到了一個(gè)黑人女孩，看她身材很好，問(wèn)她是不是跳舞的。黑人女孩說(shuō)自己跳過(guò)鋼管舞，于是留了電話(huà)，說(shuō)下次可以一起去哪個(gè)酒吧跳舞掙錢(qián)，黑人女孩答應(yīng)了。很快白人女孩打來(lái)電話(huà)，說(shuō)有個(gè)酒吧可以跳舞掙錢(qián)。于是黑人女孩帶著行李跟著白人女孩一起坐車(chē)出發(fā)了。車(chē)上還有一個(gè)黑人司機(jī)和白人女孩的白人男友。一開(kāi)始很正常，他們找了一家旅館落腳，然后到一個(gè)酒吧化妝，上臺(tái)表演，掙了錢(qián)。正當(dāng)她們要離開(kāi)的時(shí)候，開(kāi)車(chē)的黑人男說(shuō)還有個(gè)生意，黑人女孩不愿意干，但是被黑人司機(jī)恐嚇，知道她的家庭住址，黑人女孩只能乖乖去了。等黑人司機(jī)將黑人女孩和白人女孩關(guān)進(jìn)一個(gè)房間等人時(shí)，黑人女孩表示可以陪白人女孩，但是絕對(duì)不出賣(mài)自己，白人女孩同意了。但是后來(lái)黑人女孩覺(jué)得白人女孩要價(jià)太低，就重新幫她拍了照片，議定了價(jià)格，結(jié)果那天晚上她們掙了很多錢(qián)。第二天，黑人司機(jī)來(lái)收錢(qián)，然后把他們帶回了旅館。黑人女孩要離開(kāi)，但是黑人司機(jī)還是不讓?zhuān)屗麄兺砩显賿陚€(gè)錢(qián)再走，結(jié)果第二天，白人女孩被第一天白人男子結(jié)識(shí)的兩個(gè)胖黑人擄走了。黑人女孩趕緊求援，黑人司機(jī)和白人男友趕到，用槍擊傷了黑人，救出了白人女孩……

白人女孩應(yīng)該是個(gè)老手，黑人女孩是被誘騙，后又被強(qiáng)迫，幸虧她還是比較有主見(jiàn)，才沒(méi)有受騙上當(dāng)。但是黑人女孩自己肯定也不清白，不然為什么不報(bào)警，而且還有幾次，被威逼后沒(méi)有反抗，只是說(shuō)兩句又順從了，自己也有問(wèn)題。白人男友挺沒(méi)用的，白長(zhǎng)個(gè)子了……

Dyaaamn gurrrl! This shiiit is tight & you hos are gold!! I mean not "good as sum white lefty hos Avatar good", but trailer park white trash & 'em fried chicken N water melon ghetto nigga good! U C whah I meaaan? Werk it gurrrl N twerk dat nasty biiitch phaat booty like when you did dat 148-page muddafakin' tweeter! You sing it sista! P.s. where dat white betch now at, Zola? Her kids & dat dumbassed white nigga new hubby all tight?

*********

當(dāng)下trashy的流行文化及各種爆款網(wǎng)紅自我廣播的最佳注腳，這位黑人女性導(dǎo)演的節(jié)奏和表達(dá)方式與技巧無(wú)懈可擊。

P.s. 墻裂推薦觀影前后找來(lái)Zola當(dāng)年在推特上的連載長(zhǎng)推伴隨食用

圣丹斯電影節(jié)2021年展映片，重現(xiàn)當(dāng)年推特上轟動(dòng)一時(shí)的Zola “話(huà)題”

“Y’all wanna hear a story about why me & this bitch here fell out??? It’s kind of long but so full of suspense“

摘自：http://moviemarker.co.uk

摘自：http://moviemarker.co.uk

The film is designed and structured like social media. Filmmaker Bravo fittingly makes you feel like you’re scrolling and reading through the film. It lays everything bare – the dusk laden with bewitching color and the extrinsic coolness has something endearingly personal about it. But at the same time, it also seems convenient and at home with its exciting atmosphere, technicality, and plot. So much so that the director seems to lack the sharpness it could have had. At times, the writing doesn’t have enough clarity about its liberties (if any) and something truly feels blank or rather astray about the progressions.

摘自：www.austinchronicle.com

Authored from a Twitter thread that goes viral, Janicza Bravo’s second feature film ZOLA makes a heavy weather of its grassroots obscenity. Zola (Paige) is an African-American waitress and part-time stripper living in Detroit who finds a fast friend in Stefani (Keough), also a stripper. Invited by Stefani, along with her boyfriend Derrek (Braun) and roommate X (Domingo), for a weekend trip to Tampa, Florida, ostensibly to earn some cash in a strip club, Zola is plunged into an unsavory 3-day escapade that ends with blood-spurting and a suicide attempt.

Purportedly based on the real story, ZOLA smugly shoves its stranger-than-fiction novelty down our throats, you don’t need a keen sense to suss some whoring carryings-on are afoot, and the two girls’ solidarity is paper thin, who can trust a friend you are merely acquaint with for a day? Zola’s own moral compass is also shonky.

That said, squatting in the moral high ground, Zola (the movie is her story to tell, Stefani’s perspective is apportioned to a short stint, but her say-so is so flimsy that whatever comes from her mouth barely holds water) becomes the reluctant minder of Stefani’s escort business, but not for once, she debases herself in the sack, on top of that, she is so canny that it makes Stefani and X, yes, he is her pimp, look like greenhorns, the two cannot even fathom a fair market price for their service. That sounds suspiciously self-boasting in Zola’s part.

I’m not saying that what Zola tells is not the truth, only by my lights, I think everyone should take an autobiographical source material with a pinch of salt, when the author remains squeaky clean amid the grubby mess, it often impairs the story’s credence. Also, the script fails to energize Zola’s own actions, most of the time, she just goes through the motions with a miffed passivity, silently passes judgment to what happens, she has ample chances to skip town but she poutingly stays, both fascinated and disgusted by the rabbit hole she descends into. Plainly put, you just cannot warm up to Zola, Paige gives a fine performance, but Zola is a cipher, she hogs the spotlight but has no flex to flourish .

Keough is at risk of being typecast as a white-trash girl of fickle and untrustworthy dispositions, no sparkles fly between her Stefani and Paige’s Zola, girl power has nothing to do with their guarded interactions. Conversely, the male actors comport themselves much better, Jason Mitchell has his moment as a slimy trickster; Braun’s gangly desperation of a schlemiel has a modicum of innocence in the center that it even feels touching, and Domingo is scary, despicable but also eloquent in incarnating X’s mutable facets, he is the real deal among the fold, yet, we are saddled most of time with two lesser creatures, in this prismatic, grainy, symmetry-abiding, faux-candid exploit that never fully rises to the occasion to be a legit sensation, and inter alia, Mica Levi's distinguishable score deserves a better story to shore up.

referential entries: Andrea Arnold’s AMERICAN HONEY (2016, 7.9/10); Safdie Brothers’ GOOD TIME (2017, 7.1/10); Lorene Scafaria’s HUSTLERS (2019, 6.6/10).

Title: Zola

Year: 2020

Genre: Comedy, Crime, Drama

Country: USA

Language: English

Director: Janicza Bravo

Screenwriters: Janicza Bravo, Jeremy O. Harris

based on the tweets by A’Ziah King, based on the article by David Kushner

Music: Mica Levi

Cinematography: Ari Wegner

Editing: Joi McMillion

Cast:

Taylour Paige

Riley Keough

Colman Domingo

Nicholas Braun

Jason Mitchell

Ari’el Stachel

Sophie Hall

Ts Madison

Nelcie Souffrant

Rating: 5.9/10

分辨率：2K(1920x1080)

電影格式：M2TS

畫(huà)質(zhì)標(biāo)準(zhǔn)：HDR8

音質(zhì)編碼：DTS-HDMasterAudio

電影聲道數(shù)：6聲道

幀數(shù)/FPS：23.976 幀

電影大小：24.80 GB

《左拉》是由加妮克扎·布拉沃執(zhí)導(dǎo)，泰勒·佩姬、麗莉·吉?dú)W、納西爾·拉希姆和阿里爾·斯泰切爾等聯(lián)合主演的劇情犯罪片。該片講述了鋼管舞舞者左拉與相識(shí)不久的姐妹，共同前往其他城市的夜場(chǎng)賺取外快，卻不幸遭遇變故的一系列故事。

《左拉》由名不見(jiàn)經(jīng)傳的A24公司發(fā)行制作，這是一家成立于2012年的美國(guó)獨(dú)立電影公司。他們以發(fā)行電影起家，近年來(lái)開(kāi)始參與制作和投資電影，目前已成為攪局好萊塢的一匹黑馬。作為一家獨(dú)立電影公司，A24一直專(zhuān)注于小眾題材電影，其團(tuán)隊(duì)非常低調(diào)很少接受采訪。但隨著他們的電影作品在口碑、獎(jiǎng)項(xiàng)和票房上不斷斬獲，越來(lái)越多的影迷開(kāi)始認(rèn)識(shí)乃至期待A24的作品了。

《左拉》以社交網(wǎng)絡(luò)上真實(shí)發(fā)生的故事為線(xiàn)索，上演了一出別具一格的美式小品。盡管影片在制作上幾乎毫無(wú)成本，但其故事本身卻依舊很吸引人眼球。