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剧情简介 《我们无法再回家》是1973年的一部剧情片。由尼古拉斯·雷精心打造的，电影我们无法再回家，又名We Can't Go Home Again。Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.
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不缇 说：9.21貌似只有我和教授对这个电影很high，看完这个以及教授的演讲，瞬间对教授好感度up！被问起最喜欢的scene，那个孤独的女人被雨淋，去了一个亚洲系男人的家，男人与女人弹起了钢琴，而她又被遗忘在角落，她感到冷，向男主人索要了件衣服，她脱下湿衣服裸体的瞬间，我感到了莫名的孤独，以至于快哭了
Muyan 说：Restauréla Nicholas Ray Foundation, avec le EYE Film Institute d'Amsterdam et l'Academy Film Archive, le soutien de RAI, Gucci, la Film Foundation, la Gulbenkian Foundation, Cinémathèquefrançaise et le Muzeo Internazionale del Cinema. L'image parCinericIncson par Audio Mech
KUMA 说：Essai collectif et expérimental, We prend plus l’allure de la video art que celle du cinéma. En avance sur son temps,Ray effectue 1 rupture radicale avec son esthétique antérieure ( écrans multiples, surimpression). Renaissance psychédélique ou adieu testamentaire ?
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