救命

本片並不屈從於好萊塢的經典敘述模式，而是採用了三段式的格局，敘事結構上採用重寫式的板塊結構。故事發生在我們身邊，發生在當下的中國。徐剛和江小傑是一對有情有義的農民工兄弟，他們兩人同在一個建築工地幹活。一次兩人被老闆派去工地外幹活，途徑青龍灣附近，遇到一個叫陳漢華的釣魚老人不小心掉入河中，兩人義無反顧，果斷跳河救人。不料由於河水湍急，落水者被救上了岸，兩人卻不幸淹死在河裡。失去徐剛和江小傑之後的兩個家庭，其主要成員（徐剛妻子劉芳，孩子小敏，江小傑女友田佳，兄長江河）的生活均發生著一系列不可控制的變化。那麼，假如徐剛與江小傑當初選擇不救釣魚老人，那麼事件本身將會……....

入選第6屆北京獨立電影節(BIFF) The 6th Beijing Independent Film Festival2011

第24屆哈爾濱冰雪電影節“短片導演風格大獎”Harbin FilmFestival

入圍第19屆大學生電影節

入圍第3屆西安民間國際影像節

第5屆土豆映像節最佳導演“金種子獎”“獨立精神獎”提名

2012美東華語電影節“最佳導演獎”

獨立精神氣質：★★★★★ 故事性：★★★★

針砭時弊，主題鮮明，具強烈的話題性與現實意義。故事闡述方式發人深思，令人動容，對整個社會亦有振聾發聵的警示作用：救人，無法定義為見義勇為，倒為親人平添困局；不救，道德如宗教般拷問心靈，唾沫腥子仍能殺死人。三段式的格局很贊，只是如果針對救人與否最終有一些正面的舉動，有一些可參考的正解，那會更容易在網路推廣傳播，否則會由於過於寫實、挑戰和諧社會而有被禁的風險。

——《土豆映像節》

點評

從鼓勵新人的角度出發，我更願意投給這部電影一票。它雖然不是一部標準長度的劇情長片，但在整體控制上表現出了足夠的潛力。對題材的選取，以及對敘事節奏的掌控能力，都屬於值得關注的範圍。雖然在製作層面有青澀之處和種種不足，但相比其他候選作品，這部電影所呈現出來的影像控制力和敘事能力，是值得讓我們期待導演的下一部的。

——《土豆映像節》

-Instantly gripping. Greatdialog. Professionally shot with cinematic consciousness and consistency in a‘hand-held’ feel. -River Bed sequence develops brilliantly, never allowing theaudience to breath. The money haggling scene is astounding. The juxtapose ofheroism vs opportunism is fantastic. -In some scenes, the story developsextremely quickly without allowing the emotional intensity to set in. Forexample; when the OLD MAN realises the two WORKERS died to saving him. -It isnot immediately clear who the protagonist is. There are multiple storiesbetween the WIFE, the DAUGHTER and the OLD MAN, but they are sparse and I can’thelp but feel the want to get closer, more intimate to a single individual.This could be due to a serious lack of close-ups in the film. By the half-waypoint I still haven’t really read the WIFE’s face. It may be an artisticdecision, but it is not allowing me resonate entirely with the WIFE. -The ‘rainpour-down’ sequence with the kids is brilliantly executed and again, the dialogsurprises you with unexpected outcomes. -Interesting turn of events when thefilm portrays the social repercussions of having taken no action at all. Neither the victim’s family in the first reality, nor the defendant WORKERSin the second reality want to take responsibility. This is an interesting butsomewhat darker look at societies interwoven behavior considering all of theoutcomes. Of course, drama needs to be created, and this film does itincredibly well with a large cast. -The film takes a good stab an analysingsocieties as well as individuals definition of justice, both on a mass viralscale and on an intimate family/partner level too. Intensely interesting anddeep, beyond just the performances and on-screen action. -Fantastic full circleending which not only suggests, rather sinisterly, that you cannot escape yourfate but the group of attackers acted in exactly the same way to what they wereprotesting against. This genre gimmic however, ‘alternateendings/realities’(a la RUN LOLA RUN) is, in my opinion, alittle bit of a ‘cheap’wayto avoid a deeper, more complex narrative and can be very disengaging. -Allround a brilliant, thought provoking film that will stay with me long after thecredits have rolled.

———《聖丹斯國際電影節》

“這麼長的故事完成度挺高的。攝影蠻有含金量。但是作為導演完全失去了掌控力，整部所謂的電影拍成了一檔倫理類電視節目中的原景重現。片子更像一部偽紀錄片，藝術性嚴重缺失。兩段故事本可以產生更為強烈的戲劇衝突，但是對比與對位並不是很明顯。看看《a separation》是怎麼拍的吧.”

——（liangguiying）

“本年度最具爭議影片”——（LEO胖哥）

“深刻！救還是不救？社會性問題！”——（白化飯）

“這個短片很經典，救？不救？很糾結，其實也很簡單。有道德底線的人都懂的，不和腦殘探討。腦殘？誰？對，就是媒體。短片中有媒體這樣問：你們會不會離婚呀？人言可畏？我說媒體可畏呀”。

——（sczyan）

“社會真的是這樣嗎？這些只是極個別的現象，不能代表大部分，所以我想這種片子不該拍，也沒必要拍，拍這個就說明編劇本身心裡就是有問題，思想深處很陰暗”——（前世將軍）

“欲哭無淚啊！太震撼的片子了，真實得幾乎就像是紀錄片。”——（lisenhei）