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如果你对老电影还停留在“黑白默片”的印象，这部1933年的《大洪水》会刷新你的认知。适合那些愿意沉浸在一段沉重历史里的观众，看完会忍不住回头看看窗外晴朗的天。剧情不绕弯子，就是一群普通人如何在四十英尺高的水墙下做出不同选择——有人自私冲撞，有人用身体挡住闸门缺口。报社女记者佩吉·香农试图用相机记录真相，却被镇长斥为危言耸听；工程师西德尼·布莱克默忙着加固水闸，却发现闸门早已锈死。费斯特导演用克制的调度——断裂的桥梁、淹水的街道都以实景拍摄，反而让灾难题材褪去奇观化，暴露出更赤裸的生存困境。该片适合对早期电影叙事实验感兴趣、并愿意透过粗糙特效观察30年代社会心态的观众。

When talking about Louis XVI and his wife Marie Antoinette, what immediately comes to mind are lace, tall wigs, flamboyant clothes and colours, Versailles, or… the guillotine. Here, between these two extremes, exists a middle ground, a period of time seldom explored: the few months when the last king and queen of France were imprisoned, with their two young children, in a black castle on the outskirts of Paris, awaiting their executions. A brief and condensed period where, amidst violence and harassment, all masks fell off: those of two royals, as public and private figures; that of the old regime; that of a History that finally turned the page; and that of God who, from then on, was eclipsed by the shadows, leaving man entirely alone.

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