摘自2021年12月紐約時報影評 A Portrait of the Cineaste as a Young Man
https://www.nytimes.com/2021/12/14/movies/the-hand-of-god-review.html
The story of how a young filmmaker wrests his vocation from a reality that is by turns ridiculous, enchanted, bewildering and tragic.
關于一位年輕影人如何從他荒誕，迷人，令人眩暈又帶悲劇色彩的現實裡剝離出藝術創作的故事。
...Sorrentino shares Fellini’s taste for odd, sometimes grotesque human faces and physiques. His most Felliniesque quality, though, may be his commitment to emotional anarchy. Feelings don’t come in neat packages or move in straight lines. Anguish and amusement are neighbors, sometimes even synonyms. Delight swerves into pain. Sarcasm gives way suddenly to earnest sentiment.
索倫蒂諾繼承了費裡尼對于古怪，有時甚至是荒誕的人臉和體形特征的喜愛，但他最為費裡尼的一點，或許還是整部電影中對“情緒混沌”的執着—— 一切情感都不會以清晰完整的方式或線形順序出現。痛苦與歡愉共存，有時甚至是同義詞。欣喜可以急轉為苦難，諷刺可以迅速讓位為赤裸的感傷。
...But I wouldn’t say that this movie is a distraction from reality, any more than I would call it a work of realism. It’s a beautiful tautology: a true-to-life movie about a life made for movies.
比起形容《上帝之手》為逃離現實的消遣之物，我更願意說電影本身即是現實的成品。它是一句美麗的贅述：一部形同人生的電影講述了一段形同電影的人生。
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