Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.
Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)
As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.
The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).
Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
不如，直面问题坦然自处之！
真实事件改编，节奏感非常好，全程无尿点。
最后那个初中生?还挺意外的，本来看前面他俩对话还以为只是安藤的幻想分裂人格啥的，，
结尾出现了，根据真实事件改编，所以司法部长的女儿真的被射杀了？
"We are only human though other human beings."
节奏有点慢，这类劫持人质片本应该让人紧张的透不过气，我可几乎全程边玩手机边看完的
大到超乎你的想象。
不错的片子，甚至不需要艺术加工，能把真实事件完整据实地拍出来就已经足够了。
貌似警察进入攻击，劫匪和几名人质死亡；所以“由真实事件改编”，非国大的暴力抵抗是得到过曼德拉支持的，但后来推行的种族和解才是曼德拉与其他人的不同之处，如同Invictus这部电影，顺便在这里推荐下。
光影真的很棒，整部电影的画面都是喜欢的色调，很细腻，剪辑细节处理得也很好。意识到自己的秘密被公开、“被出柜”的时候沉默着流泪，迎着人群下楼梯那段，很心疼。
会使枪的妹子就是帅啊。南非apartheid长期斗争的一个侧面。
对于某些地方的某些人来说 。自由的代价 真的好贵 is everything
小翅膀啊，我一开始以为我看错了，吻戏让我震惊
喜欢的点“有摩擦才会前进”“试着去了解和理解”，但还是理想化了。
所以卡尔文为什么不能每隔一段时间打伤一个人质以此为危险！
生拉硬拽扯到了纳尔逊曼德拉头上，整个抓捕过程警察也太水了些。
“我希望这世界上的男人都是bl，但是唯独不希望你是。一开始我喜欢上的是男生的你，但是现在我喜欢的是安藤。”
就因为目的换成了释放曼德拉，所有人开始支持他了除了上校，就。。。很突兀
这不是喜欢和爱的区别 是能硬起来和硬不起来的喜欢//我喜欢的是 BL以及安藤//我喜欢的是 男人以及三浦//神尾枫珠真的好帅啊
这一起恐怖袭击案演变成银行劫持人质案，
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