Venice: The director of "Cure" and "Pulse" switches things into a slightly higher gear with a bullet-filled story about the petty grievances people develop towards each other online.
An action film as only “Cure” and “Pulse” director Kiyoshi Kurosawa would think to make one, “Cloud” leverages the social disaffection at the heart of his analog horror masterpieces into a sterile — but eventually bullet-filled — morality tale about the dehumanizing nature of digital communication. The first hour is a slow accumulation of the petty crimes (and other various insults) that the internet allows people to commit against one another from a distance, and with the benefit of anonymity. The second hour observes what happens when those petty crimes reach a critical mass, and the animus that’s been welling up on social media spills into the real world with the deadly force of a double-barreled shotgun.
An action film as only “Cure” and “Pulse” director Kiyoshi Kurosawa would think to make one, “Cloud” leverages the social disaffection at the heart of his analog horror masterpieces into a sterile — but eventually bullet-filled — morality tale about the dehumanizing nature of digital communication. The first hour is a slow accumulation of the petty crimes (and other various insults) that the internet allows people to commit against one another from a distance, and with the benefit of anonymity. The second hour observes what happens when those petty crimes reach a critical mass, and the animus that’s been welling up on social media spills into the real world with the deadly force of a double-barreled shotgun.
If Kurosawa’s work has long displayed a morbid fascination with the relationship between diffuse psychic distress and localized physical violence, “Cloud” updates the filmmaker’s signature focus for a modern world that’s enmeshed in an infinite (but invisible) network of small cruelties and bitter grievances — a network so ubiquitous that even the better angels of our nature might drive us straight into hell. Almost too mundane to care about until it becomes impossible to stop watching for much the same reason, this riveting and highly unusual shoot-em-up finds Kurosawa returning to his roots, only to discover that psychological terror isn’t quite as abstract as it used to be.
At its most basic level, “Cloud” is about a quasi-sociopathic internet reseller who hoards all manner of crap — medical devices, handbags, collectible dolls — so that he can artificially inflate the prices of these goods and sell them to desperate strangers on the internet for profit. His name is Yoshii Ryosuke (Masaki Suda, who recently voiced the titular bird in “The Boy and the Heron”), he lives in a cramped apartment that’s full of large boxes, and he’s basically what it would look like if a shady Instagram ad came to life. Some of the stuff he sells is real, some of the stuff he sells is fake, and none of it matters to him whatsoever (the “Fiber Embalm” discs he sells feel like an expression of his indifference). Yoshii doesn’t even seem particularly concerned about the money. For him, the balance of his checking account is like the score of a video game, and watching his computer monitor as suckers buy his items in real-time is his only source of joy.
Yoshii has a menial factory job that keeps him tethered to polite society, but he’s so bored of it that he decides to quit the minute he’s faced with the threat of a promotion (Yoshii tells his overeager boss that he’s unassertive and only looks enterprising). He has a girlfriend named Akiko (Kotone Furukawa), but she mostly just ogles Yoshii’s stuff while flitting through the background; when Yoshii is approached with a business proposition by an old friend from his college days (Masataka Kubota as Muraoka), our dubious hero winds up apologizing to his pal for daring to find “conventional happiness,” as if being in a relationship is a betrayal of the boys’ unspoken commitment to fucking people over from afar.
Not to worry, Muraoka: There’s little doubt as to where Yoshii’s heart lies. The lake house he rents on the outskirts of a rural Japanese town isn’t the romantic getaway that Akiko might assume, but rather the headquarters of Yoshii’s new full-time reselling business. Of course, the real value of the rental is as a hideout. The legion of people who Yoshii has managed to piss off are on the brink of doxxing him (he finds a dead rat on his doorstep one morning, and scooters into a trip-wire the following night), and he needs a place where he can lay low while his new assistant (Daiken Okudaira as the angel-faced Sano) takes care of the dirty work. But no one who lives on the internet is all that hard to find.
The walls are definitely closing in on Yoshii during the first half of this movie, but “Cloud” is much less interested in manufacturing empty suspense than it is in staring at the apathy that’s responsible for — and generated by — his protagonist’s situation. The clinical numbness of Kurosawa’s direction undercuts the genre-made tension of his story to a degree that forces us to stop judging Yoshii in favor of focusing on his banality. He’s a rather basic guy at the end of the day, and Suda’s quizzical performance feasts on the sinister averageness of today’s online pests, as well as the lack of emotional responsibility they feel towards their targets. His Yoshii is smart enough to rig the internet into a trap, but not smart enough to avoid getting caught in it himself, which makes him both a clear villain and an all too relatable fool.
What it doesn’t do is make us, his girlfriend, or anyone else care about his feelings, as “Cloud” — the title of which refers to both the nebulous data hub, and also the throngs of angry strangers who billow around Yoshii as the film goes on — is shaped by the same discommunication that informs its characters. This is a story that takes place in a country and a world in which what people mean to each other is fraying apart at the seams, and it’s wildly satisfying to discover what that means in the context of Kurosawa’s characters.
To say anything more specific about that would risk spoiling the fun, but there’s a unique thrill to watching “Cloud” shift from a sedate internet crime saga and into a frenetic manhunt (alternately funny and frightening), as the digital search for Yoshii is distilled into the cavernous guts of an abandoned factory. Kurosawa wholly embraces the unseriousness of Yoshii’s enemies without ever diminishing the seriousness of what they represent, and while some of them prove more intriguing than others, all of them contribute to a brilliant setpiece in which the sight of people shooting at anything that moves becomes a perfect metaphor for online interaction. Kurosawa may not be asked to direct a “John Wick” movie anytime soon, but his action choreography is hyper-lucid in its crudeness, the sociopathy he diagrams is fantastically kinetic in its own respect, and Yoshii’s ultimate fate when the dust settles is rewarding in a way that you will never see coming. Then again, I suppose that such mutual insanity could only ever lead to one place, and few recent films have painted a more damning portrait of how we’re all going there together.
Grade: B+
“Cloud” premiered at the 2024 Venice Film Festival. It is currently seeking U.S. distribution.
Want to stay up to date on IndieWire’s film reviews and critical thoughts? Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best reviews, streaming picks, and offers some new musings, all only available to subscribers.
一直听说滨口龙介师从黑泽清，因此对黑泽清的电影非常好奇。令我想不到的是，滨口和黑泽清的电影风格、手法和主题总体上区别真的挺大，但是这部电影真的是非常非常非常棒的故事片，看到豆瓣评分这么低其实我有点震惊。
主题上，这部电影主要对人性进行探讨。我粗略地想了想，针对这一议题的人性可以大致可以分为四种：嫉妒、崇拜、鄙夷（傲慢）、虚荣。即当人们面对比自己好的身边人，会同时存在盲目崇拜（羡慕）和嫉妒仇恨的双重心理，而面对比自己差的会同时产生高高在上的虚荣感（有时此表征是同情）和对弱者轻视鄙夷的傲慢的双重心理。而在这部电影中主要讨论的是嫉妒（但我认为也存在着一种被失败者通过自我臆想建构的对男主人公的崇拜，毕竟其实主人公过得并不那么好）。此外，这部电影对社会的物质观也进行了讽喻。（劫后余生后：“我先看看手办卖的怎么样了”我真的爆笑）大家都反感黄牛倒卖贩，但是大家也不睁眼看看去打听打听现在有多少人疯狂的金钱至上动机背后的行为都有什么（有多少人还残存美好的人性和精神呢），谁有比谁高贵呢诶呀！那么讨厌倒卖贩其实无非是自己的利益受到了损失，但是如果无关自身利益（或没有受到显性影响）其实大家也不会憎恶（义愤填膺）这些人。毕竟事不关己。在行为上，比这类人恶劣的人真的实在太多太多太多了。并且，导演在为倒卖贩辩护的同时也对其进行了讽刺了呀。在这部电影中，甚至没有一个好人。
形式上，这部电影所使用的变态暴力元素真的我第一时间想到的就是赫赫有名的朴赞郁（不得不说日韩电影风格是真的明着变态啊）。以及该电影非常黑色幽默，在严肃议题面前频繁使用幽默诙谐的元素很好地溶解了观众的沉重感，同时在这一过程中又完成了思考。很新颖的地方是这部电影后半段就像打游戏（类似于和平精英？），在一种荒诞中完成了导演叙事。我还是挺欣赏国产剧《我是余欢水》的，里面也应用了相关叙事形式。将这种叙事形式放在电影构思中，真的挺有意思的 （ps：真的看得我想打游戏（有点上头了我））
Venice: The director of "Cure" and "Pulse" switches things into a slightly higher gear with a bullet-filled story about the petty grievances people develop towards each other online.
An action film as only “Cure” and “Pulse” director Kiyoshi Kurosawa would think to make one, “Cloud” leverages the social disaffection at the heart of his analog horror masterpieces into a sterile — but eventually bullet-filled — morality tale about the dehumanizing nature of digital communication. The first hour is a slow accumulation of the petty crimes (and other various insults) that the internet allows people to commit against one another from a distance, and with the benefit of anonymity. The second hour observes what happens when those petty crimes reach a critical mass, and the animus that’s been welling up on social media spills into the real world with the deadly force of a double-barreled shotgun.
An action film as only “Cure” and “Pulse” director Kiyoshi Kurosawa would think to make one, “Cloud” leverages the social disaffection at the heart of his analog horror masterpieces into a sterile — but eventually bullet-filled — morality tale about the dehumanizing nature of digital communication. The first hour is a slow accumulation of the petty crimes (and other various insults) that the internet allows people to commit against one another from a distance, and with the benefit of anonymity. The second hour observes what happens when those petty crimes reach a critical mass, and the animus that’s been welling up on social media spills into the real world with the deadly force of a double-barreled shotgun.
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If Kurosawa’s work has long displayed a morbid fascination with the relationship between diffuse psychic distress and localized physical violence, “Cloud” updates the filmmaker’s signature focus for a modern world that’s enmeshed in an infinite (but invisible) network of small cruelties and bitter grievances — a network so ubiquitous that even the better angels of our nature might drive us straight into hell. Almost too mundane to care about until it becomes impossible to stop watching for much the same reason, this riveting and highly unusual shoot-em-up finds Kurosawa returning to his roots, only to discover that psychological terror isn’t quite as abstract as it used to be.
At its most basic level, “Cloud” is about a quasi-sociopathic internet reseller who hoards all manner of crap — medical devices, handbags, collectible dolls — so that he can artificially inflate the prices of these goods and sell them to desperate strangers on the internet for profit. His name is Yoshii Ryosuke (Masaki Suda, who recently voiced the titular bird in “The Boy and the Heron”), he lives in a cramped apartment that’s full of large boxes, and he’s basically what it would look like if a shady Instagram ad came to life. Some of the stuff he sells is real, some of the stuff he sells is fake, and none of it matters to him whatsoever (the “Fiber Embalm” discs he sells feel like an expression of his indifference). Yoshii doesn’t even seem particularly concerned about the money. For him, the balance of his checking account is like the score of a video game, and watching his computer monitor as suckers buy his items in real-time is his only source of joy.
Yoshii has a menial factory job that keeps him tethered to polite society, but he’s so bored of it that he decides to quit the minute he’s faced with the threat of a promotion (Yoshii tells his overeager boss that he’s unassertive and only looks enterprising). He has a girlfriend named Akiko (Kotone Furukawa), but she mostly just ogles Yoshii’s stuff while flitting through the background; when Yoshii is approached with a business proposition by an old friend from his college days (Masataka Kubota as Muraoka), our dubious hero winds up apologizing to his pal for daring to find “conventional happiness,” as if being in a relationship is a betrayal of the boys’ unspoken commitment to fucking people over from afar.
Not to worry, Muraoka: There’s little doubt as to where Yoshii’s heart lies. The lake house he rents on the outskirts of a rural Japanese town isn’t the romantic getaway that Akiko might assume, but rather the headquarters of Yoshii’s new full-time reselling business. Of course, the real value of the rental is as a hideout. The legion of people who Yoshii has managed to piss off are on the brink of doxxing him (he finds a dead rat on his doorstep one morning, and scooters into a trip-wire the following night), and he needs a place where he can lay low while his new assistant (Daiken Okudaira as the angel-faced Sano) takes care of the dirty work. But no one who lives on the internet is all that hard to find.
The walls are definitely closing in on Yoshii during the first half of this movie, but “Cloud” is much less interested in manufacturing empty suspense than it is in staring at the apathy that’s responsible for — and generated by — his protagonist’s situation. The clinical numbness of Kurosawa’s direction undercuts the genre-made tension of his story to a degree that forces us to stop judging Yoshii in favor of focusing on his banality. He’s a rather basic guy at the end of the day, and Suda’s quizzical performance feasts on the sinister averageness of today’s online pests, as well as the lack of emotional responsibility they feel towards their targets. His Yoshii is smart enough to rig the internet into a trap, but not smart enough to avoid getting caught in it himself, which makes him both a clear villain and an all too relatable fool.
What it doesn’t do is make us, his girlfriend, or anyone else care about his feelings, as “Cloud” — the title of which refers to both the nebulous data hub, and also the throngs of angry strangers who billow around Yoshii as the film goes on — is shaped by the same discommunication that informs its characters. This is a story that takes place in a country and a world in which what people mean to each other is fraying apart at the seams, and it’s wildly satisfying to discover what that means in the context of Kurosawa’s characters.
To say anything more specific about that would risk spoiling the fun, but there’s a unique thrill to watching “Cloud” shift from a sedate internet crime saga and into a frenetic manhunt (alternately funny and frightening), as the digital search for Yoshii is distilled into the cavernous guts of an abandoned factory. Kurosawa wholly embraces the unseriousness of Yoshii’s enemies without ever diminishing the seriousness of what they represent, and while some of them prove more intriguing than others, all of them contribute to a brilliant setpiece in which the sight of people shooting at anything that moves becomes a perfect metaphor for online interaction. Kurosawa may not be asked to direct a “John Wick” movie anytime soon, but his action choreography is hyper-lucid in its crudeness, the sociopathy he diagrams is fantastically kinetic in its own respect, and Yoshii’s ultimate fate when the dust settles is rewarding in a way that you will never see coming. Then again, I suppose that such mutual insanity could only ever lead to one place, and few recent films have painted a more damning portrait of how we’re all going there together.
Grade: B+
“Cloud” premiered at the 2024 Venice Film Festival. It is currently seeking U.S. distribution.
Want to stay up to date on IndieWire’s film reviews and critical thoughts? Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best reviews, streaming picks, and offers some new musings, all only available to subscribers.
「你做生意完全凭着冲动和直觉吗？」
影片开场，以倒卖为业的男主，吉井良介被卖方这样质问。
「在我弄清楚货品是真是假之前，就已经把它卖出了，这就是诀窍。」
他在影片中段给出了答案，随后陷入危险的漩涡。
如果观众试图质问其生活，可能出现的类似对话：
「你追求平凡的幸福为了什么——爱你的伴侣，还是仅仅出于自私？」「你对平凡的幸福的追求方式，就是靠伤害他人并无视这样的行为吗？」
「在我弄清楚情感真假、道义与否之前，就已经把风险从自己身上转嫁掉了，这就是生活的诀窍。」
倒卖是商业社会长久以来存在的一项灰产，可拆分出其中涉及的多种供求语境。让我们来看下片中依次出现的商品，电子治疗仪——通过倒卖商夸大其实际效用，高价卖出；名牌包——以次充好；限量手办——在开售日期前违背商业道德的高价收购，妥妥黄牛行为。
主角分别欺骗并赚取的是，人们对身体的关心、身份包装与文化崇拜的需求，而普通人以相信这些需求的真，即满足一部分欲望而生活；但对于主角而言，需求只是需求，利用需求积累资产才能满足欲望。乍看二者是敌我关系，其实对于许多身处现代社会的人们来说，后者反而像是一种「揭示」，因为这就是通往成功的行事逻辑。
多少人从出生到长大，以安定与富足为生活之目的，规避或转嫁一路上遇到的风险。
而因爱着周遭事物，进入安定生活；抑或为了心中道义，承担属于自己的挑战，则在众人的意识里被归类为不切实际的，理想主义的，不足以令人付诸行动的。
黄牛，是众人之中工具理性的典型，他们不比寡头们作恶多端，不如弱者们温良懦弱，无视市民阶层的道德限制。只是通过小恶的积累换取安稳，我们又何尝不想着能干一份钱多事少的活，却总是因着责任感或者其它什么东西，错失将谎言、过度劳作以及坏的未来从自身转嫁给他人的机会。
这是现代人的无意识悲剧，但选择牺牲爱、善、义去追求安定生活，同样也是。而在公正与自由程度持续走低的社会，人们对于钱多事少的向往则有增无减。
而饱受观众诟病的后半段，尤其让人认为水平急转直下且可笑的枪战段落，其戏剧内核的确包裹着一部分喜剧感，或许大概能将其类比为《低俗小说》里，黑帮老大追杀拳击手→二人误入枪支店→遭绑入地下室被鸡奸→最终反杀段落的拉长版。
喜剧发生在权力关系的反复转换。在之前的单场戏中早有暗示，被设定为人前点头哈腰、装聋作哑，实则城府颇深的主角，被动暴露时刻发生在女友路过时，处于日光下的二人和阴影中的村冈学长瞬间形成对比。「没想到你已经得到平凡的幸福了。」学长的感慨令此情此景更添一分滑稽。
这种滑稽也展现在上司前去主角家拜访，遭遇停电又恢复的段落，而后成为了上司的愤怒来源之一。尽管有些难以理解，但如果将其替换成看到自己追求的人在线上聊天时，屡次看到对方正在输入的提示，但却什么都没有回应，在自己的生活彻底崩溃之后也可能将之列入杀戮名单。与其说是同性恋，不如说，在极化的爱恨里，人从性别的观念里解放出来，还原为人的存在。
而每个角色像云一样聚集起来的时候，仇恨也像云一样遮住了自己的双眼。上司的讨好被弃之如敝履，学长看到更成功版本的自己，于是他们也死于自己的仇恨。只是在这个弱者有罪的现实当中，人们习惯于将自己生活如麻一般的糟糕状况，归结为有眼无珠。当然，这种仇恨有效的一面是，把主角这种不想走向极端，只想在少量作恶基础上过好生活的人一起拖下来。
主角在结尾的杀戮中有两次心理状态的强烈变化，第一次是开枪杀治疗仪的厂商，第二次是未婚妻的死亡。前者不只是他开了第一枪，而且某种危险也在此时侵入了他精明构建的好生活中；后者则是好生活的图腾崩塌了，而不是所爱之人，这才是击溃其自以为是的因由。
构建这样的影像世界及其寓言化的逻辑表述，从整体到细节，都是值得敬佩且富有想象力的。只不过，对这样的影片很难说得上喜欢，回到《X圣治》短评里说的那样，看黑泽清的影片都会让我觉得，就是为了衬托现实世界的混乱而美好存在的。尽管暴戾映照我们身处的当下，但还有人分享可爱猫猫，还有人看演出看到哭……
《CLOUD》 是我们在京都观赏的五部电影里最惊喜，最享受，最痛快的。
作为一部电影，它极致发挥了电影的魔幻特性，让人看完直呼“这才是电影啊”！
菅田将晖突破原本干净的青年气，热血的少年气，演绎了一个似乎平庸又难以想象的恶人。
黑泽清作为国际知名的日本电影导演，在惊悚和恐怖的电影类型上，将文艺和艺术电影的主题融入其中，走出了一条作者之路。在“拍摄一部娱乐化的电影”的冲动下，黑泽清完成了《CLOUD》，但万万没想到，这部娱乐电影，全员恶人，黑暗到底，结局更是令人毛骨悚然。
???? https://www.xiaoyuzhoufm.com/episodes/674a9a7a0ed328720a65419d
■ 主播n杨老师n实验性的人生
·
■ Cover art 中作品nCLOUD 电影海报
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■ Song ListnAlexandros - Boy Fearless
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■ 延伸内容ncloud电影官网nhttps://cloud-movie.com/
cloud 豆瓣页面nhttps://movie.douban.com/subject/36772767/
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■ snsn感谢你的收听！关于节目和主播的动态，欢迎关注我们的社交号：n「一画一话」微博n「一画一话」豆瓣n杨老师微博n另一位主播微博
Instagram上也可以找到我们。n如果你喜欢我们的节目请在你常用的平台留下好评，将节目分享给你的朋友。
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黑泽清果然老当益壮，今年一下子三部新片先后问世，从拿手的惊悚题材《钟声》到翻拍自己的旧作《蛇之道》，再到这部压轴呈现的《云》，均可证明他再次回到创作的活跃期。更可喜的是这部新作《云》被选为代表日本参与本届奥斯卡最佳国际影片的角逐。
网络技术的高速发展，让现代人的生活越来越便利，彼此距离也越来越靠近，这也是全球化得以实现的一个契机。尽管如此，黑泽清对互联网一直保持警惕，这一点早在二十多年前的恐怖经典《回路》中已有所展示。资深影迷还记得那部影片里的鬼魂是通过网络来到人间，导致越来越多的自杀事件。新作《云》再次聚焦于互联网对我们的影响，尖锐指出互联网往往是仇恨与恶意的滋生之地，而这股恶意很容易演化为实质的暴力，从虚拟世界引向现实社会，造成可怕的结果。
《云》讲述的就是一个网络仇恨演变为现实暴力的故事，男主角吉井以低价大量购入医疗器械、模型、女士手袋等商品，再以高价在网上出售而获取暴利。渐渐地，他的买家们发现了这个秘密，相约在线下找出这个炒卖者报仇，引发一场意想不到的暴力事件……事实上，电影名字“云”有相当清晰的双重指向：互联网的云端，以及像云一样聚集的网络戾气。
一直被誉为是日本恐怖片大师，黑泽清在 21世纪以来凭类型融合实验而继续探索，而这部新作可谓重回类型实验的领域。影片前后两段泾渭分明：前半部是他拿手的惊悚叙事，后半部则是他极少尝试的动作枪战，前后两部分充满着突兀的断裂感，这也许能够解释不少恐怖片影迷对新片不满的原因。不过，黑泽清对气氛的营造依然得心应手，特别是在日常生活细节里发掘意想不到的惊悚效果。除了以往影片中常见的飘动的白色窗帘之外，谁能想到他竟然用咖啡机成功炮制出一幕惊险的情节，体现他对声音在气氛环境中的妙用。
当然，更想像不到的是黑泽清竟能拍摄动作枪战戏！完全不输于北野武的干脆利落与诙谐搞笑，还带有他标签式的隐喻意象。后半段讲述一群网民自发组织绑架了男主角，将其带到一个郊外废弃的仓库，准备对其下毒手。这个令人精神一振的枪战段落无疑让人回想起《蛇之道》，恰好今年他翻拍了这部旧作。远离都市的废弃空间隐喻着远离繁荣与文明的区域，而经济/精神层面日渐衰败的群体，以及人性中的野蛮与险恶便找到了最理想的发泄场合。在阴暗空旷的仓库里子弹横飞，交战双方似乎根本不需要瞄准就开枪，全凭直觉与生理刺激的驱动，使得这场枪战有了隐喻色彩。
在前半段，擅长炒卖的男主角看着电脑屏幕上商品货物的图标闪烁，表现出莫名的快感，这也许跟金钱有莫大关系。但这个画面很可能要强调的是网络将现代人贪婪、欲望的心理情绪彻底放大，并形象化成为闪烁的光点图标。而仓库里的枪战似乎也异曲同工，这无异于一场电脑视频游戏的真人模拟版，众人在网络世界里积聚的戾气，全都在无意识开枪的一瞬间获得快感。如果说在《回路》里，鬼魂通过网络来到人类世界只不过是一种类型的修辞法，那么 20 多年后，黑泽清见证并体验了互联网技术高速发展，不仅亲历网络具有改变现代人沟通模式的优势，更发现了互联网有着激发现代人情绪波动、引发集体狂躁症的可怕潜能。
这绝对是一部两极分化的作品，冲着恐怖片大师慕名而来的影迷首先会失望而归。你也许会说黑泽清不理会观众感受，在自己的舒适区里尽情实验，不过他并非纯粹的类型片导演，早已在众多作品中表现出对社会现实，甚至历史政治话题的关注。在这部交杂着惊悚与笑声的类型实验之作里，导演留下了这个时代的一张张快照，敲击出现代社会愈加深重的病症。
受骗的网民苦主得不到赔偿却付上了自己的性命，而贪婪的炒卖商人却能毫发无伤全身而退；施害者与受害者的命运在此奇妙发生逆转，不难看出导演的终极用意。他警惕着互联网的高速发展，因为这是一个人性堕落而无法阻挡的时代。最后男主角和得力助手驾车驶向虚幻的场景时，先别嘲笑这个儿戏的结局，细想一下，我们不得不面对的恐怕就是这个触目惊心的末日社会。