无尽

烧脑片是什么？我一直觉得烧脑片也好，悬疑片也好，都有个大前提是不能变的，那就是你不能在整个影片里都表现的很武侠，最后结局却是神仙作案！这就是伪悬疑，也是赤裸裸的对观众的欺骗和嘲讽！把大象塞冰箱里，只要3步，作为笑话或者脑筋急转弯，可以哈哈一笑，但是作为故事或者影片，那就是耍赖了！

首先，关于真时空的轮回片是最难讲的，因为这里面涉及到的问题无限多，时空可以快慢，像星际穿越因未知因素导致某一区域出现时间速差可以有，因为我们对于时间的认知只在三维世界！像源代码那样穿越时空可以有，因为它只是用某种技术把一段记忆穿越时空，就相当于人造先知，世界是存在平行宇宙这一说的！像恐怖游轮那样命运轮回可以有，因为它并不涉及真时空，它只是在某种强大的生物影响下做灵魂轮回！

而本片却出现的真时空轮回和断层，以目前人类对时空的理解，不可能有生物或者意识能控制真时空，不管是几维都不行，当时间和空间合在一起的时候，是不可逆的，以闪电侠闪电悖论举例，你穿越到以前，去改变世界，那只是你穿越到一个平行世界而已，实际上你所在的时空和你穿越的时空都是在正常运行的，如果是真的时空回流，那就是你变成自己小时候的样子，依然是小时候的记忆，依然不会有什么改变，因为你小时候就是这么过来的，如果闪电侠小时候有人救了他妈妈，那未来就没有穿越回去救妈妈的闪电侠了（没死也没必要救了），那闪电侠的世界就是小孩的一个梦，或者没有闪电侠的世界就是闪电侠的一个梦，不然这世界就是个笑话了！本片就拿那个只有几秒钟轮回的老头来举例，如果是时空轮回，那他就不可能知道自己下一秒会怎么样，那就是时空断层，如果他有上个轮回的记忆，那就不叫真时空轮回，那叫游戏机，和游戏投币一样，我死的够多，我还是可以通关的，只不过这个游戏只有几秒钟，制作这个游戏的生物和玩这个游戏的生物毋庸置疑，都是脑残！本片其他人类都可以参照这个例子，那这么说来，这整个世界，都只是某个生物制作的一个大型AI游戏 而已，连玩家都没有，对于制作这种脑残游戏的脑残生物，你还去烧脑猜剧情，猜哲理什么的，那我只能说你和它一样了！

也许这世界真的是个笑话，但是能把世界当成笑话的存在，倒底是有多蛋痛，才会拿这几个在宇宙中连尘埃都算不上的人类耗蓝？？？

本片把轮回的情况拍成小电影情节是最大的败笔，而且是技术那么落后的录影带，这个情节就是直接说明了，这只是个游戏世界，不是真的世界！就像未来AI技术制作的一个游戏测试，这几个人类都是AI，我们只是看了一个AI游戏测试片段而已！

为什么说，不管是几维，时空不可逆呢，如果你回到你小时候，那你是真实的（那穿越对于你来说就是一个梦：闪点悖论），还是小你是真实的（那你就是小你的一个梦：黄粱一梦），是你在的世界是真实的（那你穿行的世界就是一个梦或者AR游戏：死神来了），还是小你的世界是真实的（那你的世界就是小你的一个梦或者AR游戏：虐杀原型0.0）！

所谓黄粱一梦，梦里不知身是客！时间不可能重来，切记！

1 烧脑电影，片名点明主题

2 节奏太慢，会让观众失去耐心

3 很多地方莫名其妙没有解释清楚，让人看得云里雾里

4 这部电影得至少看两遍很多地方才能弄明白

5 其实人生也是电影里的无尽循环的一种

6 每个人都活在循环中

7 不知道电影里的神秘怪物到底是什么

8 剧情上的漏洞实在太多都数不过来

导演两人拍摄于2012年的处女作《决案》和2017年的《无尽》虽说是两部影片，但在其故事情节和人物角色上却有不少重叠之处，而主题更有意想不到的延续，因此作为同一部野心勃勃的作品来看也未尝不可。比起较为粗糙简陋的处女作，《无尽》则明显地在制作成本上有所增加，令两位导演的狂野想象力得以展露。《无尽》的剧情和人物与《决案》有延续和交叠的部分，尤其在其中的一个场景，讲述男主角误入循环时空，竟出现在《决案》里Mike和Chris的那个小木屋里，奇妙地将两部影片的脉络打通，还无意中引出对抗幕后黑手的终极方式……

无独有偶地，两部影片都是由一盘神秘录像带而引出故事，而且不约而同地在传统的电影类型里逐渐融入惊悚恐怖的氛围，处女作是伙伴电影，而《无尽》则是近年冒起的邪教类型片。故事讲述两兄弟回到十年前逃出的邪教组织，却发现这个邪教的真实信仰与之前不同，还意外发现一个更加阴险的秘密。这部无论在制作水准还是主题概念上都远超过处女作《决案》的粗陋和直白，出现一些玄妙的特效场面。而后半段惊现时空循环的科幻情节又透露出核心主题，日常生活的平庸本质本身就是一种“循环”，一旦陷入这种生活模式便难以脱身。这个主题似乎与前一部作品《爱在初春惊变时》存在着有趣的交集，只不过前者是关于生死的宏大命题，这部回到更为现实的生活方式，更容易获得共鸣。

这部依然存在跟《决案》类似的元电影结构，甚至不惜在最后高潮部分让幕后大神“现身”，不过，这部的重点似乎不仅仅是这个幕后操纵角色的怪物。剧本用惊艳的科幻情节将生活的本质分析得相当透彻，周而复始的行动和目标，不管时间长短，终将回到原点，这种环形时空的世界观远远比简陋的处女作要复杂和诱人得多。

神秘，诡异，无解，压抑，释放。幻觉，现实，愉悦，悲伤，希望，绝望。麻木，激情，幻想，沉默，骄傲。浮躁，冷静，忧郁，踌躇，不安。渴望，欺骗，谎言。科幻，奇幻，恐怖，悬疑。焦灼，思索，无奈，无力。奇妙，危机，逃离。开始，冗长，后来，有戏。沉闷，互动，有趣。烧脑，探索，解题。神奇，友谊，创造，挑战，奇迹。

1，营地的轮回不是十年一次。如果十年一次，则片末才是营地众人的第一次死亡，但众人显然意识到自己在轮回中，意识到怪物（我倾向于外星人）的存在，说明他们轮回过了。而且如果三月齐圆就是轮回周期，兄弟呆了两天就经历了从一月到三月的变化，则营地的轮回周期只是几天而已。轮回重置后人会“返老还童”，营地众人如果十年轮回一次，则不会如此年轻，证明他们的周期其实很短，导致他们“青春常驻”。

2，兄弟二人也在轮回中。证据大家说得很多了，比如母亲纪念处前幼时作的画是崭新的，哥哥在路上发现左右的景色是对称的，再看才看到营地的山，说明他们从家来到纪念处都属于一个轮回圈。片末兄弟驾车冲出营地时迎头撞上结界，结界上也反映出车子，说明轮回圈之间的结界会反映景物。弟弟与服装女夜观两个月亮，右边的月亮显然也是反映造成。还有车油始终是空的。

3，进入轮回的人来自不同时代，轮回周期也不同。帐篷男的着装最古（有说南北战争时期的），他的周期只有五秒。上吊男是三小时（据豆友说），营地众是几天，其中酿酒男、画画女都是单独入圈的，和其他人不是一波。兄弟俩应该超过十年。因为二人冲出结界后只是脱离了营地圈而回到了原来生活了十年的圈。兄弟二人在生活圈过了十年，从小变大，重返营地又出来后没有“返老还童”，证明他们的周期还没到。而且兄弟俩的权限应该也最高，他们可以出入所有的轮回圈，而有些人只能困在自己的圈里。最明显的是上吊男穿过结界又从农房里出来，他无法去戒毒男那里。领袖男不陪弟弟去车房，因为他没有去那里的权限。

4，寻夫女就是自焚男的妻子，因为她就有贴小纸条的习惯。画画女有个爱枪的前男友，或许是戒毒男？磁带是怪物寄给兄弟俩的，注意观察磁带是凭空落在他们家门口的。这再次证明兄弟俩生活的城市仍在轮回圈里。轮回众人无论是被怪物杀死还是为了避免痛苦而自杀，都有记忆。

5，兄弟俩的轮回周期未明。假设他们老死后重启，则是：重回车祸后母亲死亡的时刻，兄弟俩被救入营地，开始困入轮回。哥哥怀疑营地是邪教，带弟弟逃出，其实是进入了其后生活十年的大轮回。十年后重回营地，然后再返回大轮回。此后生活到死，大轮回重启。其间营地众、上吊男、自焚男、帐篷男等小轮回各依周期重启。大小轮回之间，好比月绕地30天和地绕日365天一样，组成复合系统。

没时间读完的朋友，简单总结就是导演说了，结尾是happy ending，不是loop，兄弟俩逃出生天。

http://collider.com/the-endless-explained-interview/

‘The Endless’ Filmmakers on Their Trippy Mythology & Deciphering That Ending

This week, Justin Benson and Aaron Moorhead‘s The Endless rolls out on Blu-ray and digital, which means that folks nationwide are going to be unravelling the headtrip horrors of the film’s unnerving, mysterious Lovecraftian mythology and looking for some answers.Earlier this month, I published the first part of my conversationwith the filmmaking duo, which spanned from the duo’s early ideas for expanding the universe they built in their first film, Resolution, to the experience of taking the finished versionThe Endless around the world. And now that the movie has hit more theaters, it seems like a good time to serve up the spoilery portion of the interview, which dives into what to make of the film’s mysterious mythology and ending.

If you need a refresher, The Endless follows Benson and Moorhead as Justin and Aaron (yes, they’re using their real names, but no, they’re no playing themselves), a pair of bickering brothers always at odds who return to the UFO death cult they escaped as kids in search of answers. Except when they get there, they don’t find a UFO death cult at all, but a happy and healthy, if admittedly weird and unsettling, commune of people living life on their own terms. They also find something more sinister lurking in the hillsides of the remote camp — an unseen, oppressive presence that communicates through voyeuristic photographs and video clips, trapping people in time-loop prisons where it manipulates and torments them into various horrific fates for its own amusement. A frontiersman trapped in a loop of mere seconds, a man who has to kill himself every few minutes to prevent a worse fate, and the local cult, who have it relatively easy by comparison — living out a decently long three-moon loop that ends with their “ascension,” aka being shredded into bloody bits. Yikes. At least they don’t have to worry about aging.

Image via Well Go USA

And of course, there’s the return of Mike (Peter Ciella) and Chris (Vinny Curran) from Resolution,who are trapped in the bitter week-long loop of forced sobriety and failing friendship detailed in the 2002 film. The unseen evil in The Endless is the same chilling cosmic threat we met in Resolution, and the films share more crossovers thanyou’d probably imagine on a first watch, so you’re looking for more answers on The Endless, a rewatch of Resolution is the perfect place to start. Or first watch if you caught The Endless first, which works just as well.

However, if you’re looking for an easy play-by-play explanation of what goes down in the film, you’re not going to get it from Benson and Moorhead, who insist everything you need to solve the puzzles of their unconventional cinematic universe can be found right there on screen. However, the duo was more than happy to dive into the ideation behind the film’s mythology and the mindset behind ending it the way they did, so check out the interview below for a discussion of the different ways their “monster” is revealed through the characters and settings in the film, the ideas that helped inspire the unseen menace, and why the ending is more about character payoff than answering specific questions.

I know you guys have said you have this whole mythology totally down from top to tail. Was that something that you had already achieved at the time ofResolutionor did that come later?

JUSTIN BENSON: It’s definitely expanded.

AARON MOORHEAD: The rules didn’t change.

BENSON: But like withResolutionthere were … In both of these movies, there have been massive documents of things that people never see. And it’s really cool because we’re pretty sure people feel these things in the movie. The things that are into that. But like in the case ofResolution, for example. The unseen antagonist ofResolution, which is the same unseen antagonist inThe Endless, obviously. Except inResolution, the point of view of the whole film is from the unseen antagonist. There was like a massive document that went into everything about that “monster” that went to our sound designer to help them design the sound of the whole film. So that existed duringResolutionand there are things in that document that ended up more conspicuous inThe Endlessthan expanded upon. That’s just like one example of one thing.

When it comes to how nailed down the mythology is… Whenthe camera pulls back on that canyon and you see all those bubbles, the time prisons, would you be able to look at that shot and say exactly what’s happening in each one of them?

Image via Well Go USA

MOORHEAD: I can tell you how long those loops are, when they reset, and all of that. That exact area, we know it pretty well. And that’s desert, so there’s a whole bunch of poor animals. It’s probably something like that, but I wouldn’t say that we have an entire map of the world and who’s in it. But it wouldn’t be hard to theorize. We definitely have enough. So it would be pretty easy to take a good gander. And then, the little sequence that — the music trimmings for the montage that follows Justin and Aaron walking past the big totem and it’s in the sort of monolith carved monster looking thing.

BENSON: The rusty dragon sculpture.

MOORHEAD: And the rusty dragon sculpture. So those would all be individual loops that have developed their own sub-cultures and have their own interpretation of what this unseen antagonist is. Depending on how they saw it, the state of mind they’re in, and their own personalities, and all of that. And that these things they’ve created are artistic representations of how they see the antagonist. Whether they’re going specifically through the loop you see in the distance, because they do walk off, that we don’t know. And luckily, we only shot in 4K so you can’t really punch in. [Laughs]

BENSON: And what’s funny is … it’s weird how important that sequence was to us because in the movie we basically, the oldest loop that you ever see is what, 1800 something? Some kind of frontiersman like in a tent, but we have a non-existent Easter Island type subculture that developed its own kind of mythology around it. Clearly. And of course, Native Americans with the totem pole. But even the monolith to us — which is kind of the big image of the film anyways — to us. it’s supposed to scare the hell out of you when you realize that’s what that is. When you realize that, that’s the antagonist of the film as seen by people that are so ancient they’re gone in America.

In a similar vein, along with those monoliths I loved the ways we see this presence interpreted through the eyes of the characters in the film, like Lizzie’s art and Hal’s equation. What was your process of creating all these different understandings of this one being?

MOORHEAD: I mean, that’s something that did start with Resolution but it’s so small. It’s so small. It’s like literally there’s a journal running during the credits sequence of Resolution. It’s a bunch of monster sketches, and that would have been what the French researchers in Resolution were seeing it as. So that goes way back. I don’t even remember anymore what the inspiration for that was. Besides the fact that, unless you can get Giger, the guy who did Alien, unless you have a designer on that level to build a monster … We’re just trying to figure out ways that we can present it visually when we need to at least hint at something and not just show nothing, always. And in this case, we get to show it through sketches, and through sculptures, and things like that.

Image via Well Go USA

In the case of Spring, we showed a monster because the premise alluded to nature as being our designer. And since we don’t have our own Giger, we come up with these, hopefully interesting, clever ways to show an otherworldly being or “monster” and it won’t be really uneventful.

I mean if you wanted to pour a glass of wine, on a dark night and think about it. There’s this idea of every civilization has developed an idea of a deity and a God. And their interpretation of it has trickled down into our religions today. Or died out. But in the same way, their visualizations of it have looked so wildly different. And a lot of the time there’s the idea that … There’s two ideas. One is, what if it’s the same thing? What if they’re all the same thing? Of course, unified religion theory, which is kind of an idea that we play with. But we’re merging it with the idea of, what if wasn’t God? What if it was just a monster? Or what if people with porphyria were seen as vampires? You know, that kind of an idea where it’s like, “Oh, there’s nothing metaphysical about it.” Obviously, our movie’s metaphysical. But what if it was a natural phenomenon that people just tried to interpret as a god. And that’s a lot of what we’re talking about with this; they saw it as God and it’s actually just this thing.

BENSON: And as you saying that, I just remembered where it comes from. It comes from … This is a deep cut. There’s a guy named John Keel, who’s the guy who wrote The Mothman Prophecies. The book is very different from the movie. It’s not a fictional narrative. It’s sort of a journalist’s account of what happened in an area over a period of time. He wrote a whole collection of other books. The one that I’ve read is Our Haunted Planet and what it’s basically about is this concept of ultra-terrestrials.

I’m not saying it is an ultra-terrestrial in this movie, but the idea is that throughout human history whenever human beings saw something and interpreted it as being like, “Oh, I saw something. That was an angel from the bible.” Or, “That was a demon.” Or, “That was an extraterrestrial being.” “That was the Men in Black.” “That was the Mothman.” Whatever. That it’s actually always the same thing. In his case, he was arguing that it was this thing called an ultraterrestrial. That just basically, something that had been here among us, always manipulating the situation and everyone just seeing it differently depending on their culture. So it’s vaguely where the idea comes from. If you could imagine, there are so many species that we haven’t yet cataloged in the Amazon. Things like that. Imagine if there’s like an enormous blind spot that we just completely missed; one really big thing. Again, that’s not what’s in The Endless but it’s that idea.

I do have one very specific question. Are we meant to interpret at the end where we see the image of two cars coming into a collision, that it has anything to do with the car crash that put them there in the first place?

MOORHEAD: No.That’s an interesting one where we realized that was an unintentional thing. About 10% percent of people, they’ll kind of have that question of like, “Do they?”

When I watch Resolution andThe Endless back to back, something I had not picked up the first time was, they seem almost opposite ending moments. Resolution ends on a feeling of helplessness and being trapped and The Endless is all about breaking free. Was that intentionally designed for those two endings to be on opposite ends of the emotional spectrum?

MOORHEAD: Oh, that’s funny. I’m going to give you a yes and no. I think afterSpring, we got addicted to optimistic endings. I think we realized that we are just optimistic people and saying like, “You’re fucked no matter what” is just not our feeling about the way that life is, or at least the message that we want to put out into the world. And also, frankly, it more comes down to the construct of The Endless where, if you’re talking in really broad terms about the movie. If you’re talking about the fact that it says, “Break out of your cycle or be doomed to repeat history forever.” It seems like we should be showing what it looks like to break out of your cycle. And like, “Does that help you?” I don’t think it’s a moral as much as it’s an exploration of it. Because there are people that do enjoy it inside their cycle. I mean, the cult at the end. And you don’t even feel bad for them. A little bit, but it’s more melancholy. It’s like, “Oh. They kind of enjoy it there.” But I think that it would have been untruthful for ourselves if we’d ended it as dark as Resolution had ended.

BENSON: Yeah. It just seemed like we know, yes there is a very literal answer to the movie. And the answers in the film…It may take a few viewings, but everything’s very literal and all the evidence, if you want to call it that, is there. In terms of, where’s the movie ending in the sense of the supernatural, and otherworldly, and the sci-fi aspects, and all that.

But the thing that’s definite, that’s there, that was the most important to us, was just that you’d see that there was a transformation in the interpersonal relationship between these two brothers. And that you’d see that transformation in just a really understated gesture. And that the emotional satisfaction should come from that. I think anything else beyond that, we do things stylistically to kind of like poke the mystery part of people’s brains a little bit. One example is that it’s a hard cut going out. Things like that where just like you sit there and you go, “Oh, wait. There’s another piece of the puzzle to figure out.” To think about longer. It’s things like that. But there’s definitely one answer to the sci-fi part of it.

MOORHEAD: Actually going back to your questions, I just remembered when you said, “People who have viewed the movie multiple times.” There’s something that’s an interesting thing we’ve realizes. Our movies kind of exist in what people have called a Lynchian sort of universe where just things are a little off and all of that. I hadn’t seen almost any Lynch when that comparison started, but what’s interesting is, all of the answers to the movie are, I promise you, they’re in the movie. They are there. It’s not a dream logic situation. We’re not being deliberately obtuse. We just want to tell a mystery that’s got a lot of depth to it. And we just don’t want to lay it all out on the table but they’re in there. If you think about it long enough and hard enough. And you know, you might have to take a couple of, not leaps of logic but leaps of faith that like, “Okay. That is what they meant.” Something like that. But our movies are meant to be, I guess literal. That might be the word for it. They are meant to be telling a full story.

无尽，Endless。要怎么解释呢，是魔幻的Loop圈，还是残酷的现实人生。

关于神秘的cult组织

电影的背景是做着清洁工工作的兄弟二人，收到了一盒神秘的录像带——原来是是10年前他们曾经逃离的cult camp寄来的录像，向观众揭开了10年之前兄弟俩的“秘密”人生。

这种神秘组织的结构，乍看会让人联想到90年代中期日本的奥姆真理教。一群人，跑到穷乡僻壤的地方，脱离原来的“原生家庭”，建立起新的人生秩序。远离资本主义社会的分工制度，依靠简单的劳作技巧，在小团体中过着”朴素安稳“的生活。就如同电影里的一句话”It smells good“。

电影里的这个”世外桃源营地“，是电影主人公——哥哥Justin和弟弟Aaron（题外话，名字使用了演员的真名）10年前逃离的地方。10年前当哥哥带着年幼的弟弟离开营地时，还造成媒体的一时轰动，让这个营地瞬间”臭名昭著“，迅速被世人贴上了邪教的标签。10年过去了，兄弟两人的人生却并不尽如人意，事业上做着毫无意义可言的清洁工作，感情生活也常常因为曾经的”黑历史“而频频受挫。

此时收到的录像带，让弟弟Aaron提出要再回一次营地的念头。在Aaron的记忆力，camp充满了美好的回忆；而这些”美好“在哥哥Justin眼里都是被distorted过的，那是他10年前奋进全力挣脱的牢笼。然而为了能让弟弟重振生活动力，Justin答应了”故地重游“的提议。

Cult组织的核心leader又是谁呢？是营地所有人都在追求的Higher Power。就是这个Unknown的Higher Power，让这里的人如同手足一般的生活，哦不，是比兄弟手足更加祥和的生活状态。这里仿佛不存在“私欲”，不存在“占有”，所有人都在寻找或是等待Higher Power的指令，仿佛那里有着最高的智慧，指向幸福的生活。

对了，在神秘的cult圈，某些概念会有他们自己的定义。自杀不是suicide,而是ascention，很妙吧。此处省去1000字……

关于loop圈

就当观众开始以为导演要讨论邪教的时候，故事峰回路转，天空出现了两个月亮。

”这不是村上春树的1Q84吗？”心理无数的疑问划过。1Q84谈的也是邪教，也出现过跨越时空的“界域”，最关键的是，1Q84的世界就有两个月亮。

当我以为导演偷懒偷故事的时候，两个月亮变成了三个月亮。更神奇的是，还出现了类似于Tim Burton佩小姐的奇幻城堡里的Loop 圈。更为复杂的，这里的Loop的界限有些是人为创造的，而有的如同上文的cult组织，任由一个Higher Power来决定第三个月亮到来的时间，也就是Loop的界域。

电影从此走向超现实魔幻题材，一扫开始的文艺腔，取而代之的是上吊的惨白面孔，爆裂的血浆，和不停返回起点的时钟。当观众也开始在电影中迷路时，导演稍稍给了我们一点暗示。那些自主性选择自杀的人们，他们有着更贴近人类的气息。他们会暴怒，会嘲讽，会感叹，会无奈，这是与之前的营地组织成员最大的不同。那些逃不出loop圈的人，他们的生活虽然不可避免地重复，但是他们却坚持要用自己的双手为这个轮回的时空划出界限。

相反地，营地组织的成员则是等待第三个月亮月圆之时，大家围成了一圈，等待higher power的“解救”。

关于兄弟恩怨

当然了，此时的弟弟Aaron还是执着地要回到营地生活。在他看来回到现实生活也是每天的死循环，也是毫无意义的生活。当你感叹，哎呦，弟弟怎么活得那么悲观啊，恭喜你，你已经摸到了导演想要表达的核心了。

从文艺片走到惊悚片，再到科幻片，导演终于要拍醒观众，慢慢把把故事主旨抛出了。

当他们第三次走回营地，第三只月亮已经满月了。营地里人去楼空，兄弟二人走入了那个一直被封锁的屋子，里面不是怪兽也不是被囚禁的成员，而是满眼的录像带，记录了营地一切的录像带。他们看到了营地成员走向毁灭的最后一刻。整个营地都被那个Higher Power撕毁，兄弟二人出于求生本能火速驱车逃离。

然后导演在这里设置了一个小trick。车子发动不起来了，哥哥一如往常要坚持做点火发车的那个人，弟弟却说让自己来试试，此时此刻，哥哥Justin在危急时刻和弟弟调换了位置（哇，导演这个转变真的有点突如其来啊）。最终弟弟对哥哥”深情告白“后（可能感动了上苍了吧，或者感动了编剧），车子发动了……然后结局么，就是成功回到了现实人生。

此时我才突然恍然大悟，弟弟为什么会对人生那么悲观（虽然悲观主义者很有可能是天生的）。弟弟Aaron人生的所有决定都是Justin’s choice，而不是Aaron‘s choice。对于弟弟而言，他人生的一切都是哥哥帮他决定的，从10年前的逃离营地，到后来的清洁工工作，Aaron 的人生不可承受之轻便来自于这种人生的被动性。当你的人生都是别人帮你选择的时候，你当然会把责任都推到对方头上，代偿便是你永远无法体会人生真正的动力。

当方向盘不在自己手上，你当然很难有动力去相信沙漠会变成绿洲，你只会怪那个开车的人是白痴，毁了自己的旅程。哥哥呀，Loop圈和三个月亮都是幌子，我要的是My Choice啊。

人类最古老、最强烈的感情是恐惧，而最古老、最强烈的恐惧，是对未知的恐惧。不愧是哥俩的自编自导自演，剧情的展开和推进，非常的顺畅，剪辑手法到位，饱满的剧情与角色，哥俩的表现也很不错。这让我想起了逃出绝命镇和仲夏夜惊魂，习以为常的日常中的异常，在平缓的和谐氛围中又透露着一丝丝的诡谲，在一丝丝的深入骨髓，一丝丝的勾引着你。而主角那种带有克制的质疑与不适感，真的很符合这凝滞的气氛，细细琐琐的线索，引导着剧情前进，擦拭着层层的迷雾。渐渐地，异常，变得愈多愈明显，迷者愈迷，疑者愈疑。迷雾中的端倪，朦朦胧胧，但是，没有那种矫情的故弄玄虚。吻合克苏鲁的一切，迷雾一样，梦幻一般，高维不可具象化，这就是克苏鲁，用抽象的罗夏墨迹来形容克苏鲁，怪贴切的，相比星之彩，这部更加深沉含蓄与耐人寻味。最后也终于理解了，没有所谓邪教，没有对错与恶意，只是在无尽的轮回中的，失去意义的无趣，眼底的深哀与苦中作乐，以及仍不忘给你的善良与忠告。饱含哲理的话语，那一幕相隔的轻轻一挥，伫立火中不屈的身影，其中味道万千。而果然，与开头相呼应，朋友之间会相对频繁的向彼此倾诉自己的感情，而兄弟姐妹则会等待一个更为方便的时机，比如临终之前。兄弟俩再次定义了彼此，逃出生天，伴随着成员们眼中的期盼与安静的转身，而转身后，面对成员们的又是无尽的轮回。现实中的你，面对虚幻时，你会怎样选择呢，瞬间与漫长，你会怎样选择呢，这样不可逆的选择，会心动吗，会后悔吗。该作对于时空以及克苏鲁的描绘，伴以演员们出彩的表现，相当生动令人印象深刻，这无尽时空轮回，对比着现实中历史的不可逆，发人深思，这直到死亡的日复一日，也是重复的轮回吗，你也在苦中作乐吗，你充满希望还是无奈呢，抗争还是屈服呢，我们的生活中，存在深渊吗，深渊是什么呢，我们深陷其中无法挣脱吗，也许，答案就像那未解的方程式吧，哈哈哈。深渊，一直在凝视着你