Masculine bonds are under a particularly psychosexual scrutiny in American queer filmmaker Carter Smith’s third and fourth feature, SWALLOWED and THE PASSENGER, both delimit its storyline within a taut 24-hour span.
SWALLOWED starts with two 20-something friends Benjamin (Koch) and Dom (Colon) in a small Maine town, sharing their last night out before the former heads out to L.A. to pursue a career in the pornographic profession. Thinking of earning some quick bucks as a parting gift to Benjamin, Dom accepts a nightly drug run to Canada. Under duress from the surly contract Alice (Malone), they are coerced to swallow five condoms containing an unknown substance (Dom 4, Benjamin 1) and subsequently cross the border without rousing any suspicion (a part which crucially negates the necessity of swallowing the drugs in the first place, they can simply hide them in the car), but the problem is the excretion. An unexpected punch in the stomach causes Dom to experience excruciating pain and other strange symptoms. When Alice brings them to a cabin in the woods, things only get more violent and vicious when her boss Rich (Patton, the incongruous combination of brutish appearance and swishy mannerism) manifests himself.
Shot on a shoestring with camera barely venturing out of medium shots, SWALLOWED puts intimacy in the forefront. Right out of the box during the clubbing scenes, it is palpable that Benjamin has hots for Dom, who seems avoidant towards the hormonal closeness, whether because he claims to be straight or it is the moment of leaves-taking, he does want to cave in for his weakness. The rapport between a gay man and his straight friend whom he has a crush on is a knowing cliche but Smith doesn’t want to cheapen their feelings and especially after the story takes a wrong turn, it is the two men’s heartfelt affection that becomes a mental support for Benjamin’s ensuing bold actions.
Another delicate and deliciously unfolded masculine interconnection is between Benjamin and Rich, an old queer who smacks his lips all over the former’s Adonis physique (full-front nudity is a must). The gamesmanship between a predator and his prey, and how the table is eventually turned. SWALLOWED is awash with such racy innuendos, like Dom’s prolonged erection as a side effect of the leaking drug (a close-up of Benjamin swallowing his saliva is a nifty tease), or Benjamin’s fist work to extract the condoms from Dom’s anus (thankfully, the film’s coprophiliac predilection doesn’t really aim for verisimilitude), all play up to salve the thirst of the film’s demographic. Koch makes a good introduction as a new queer leading man, but Malone’s Alice getting fridged unceremoniously is a letdown. She is tough-as-nail, her maternal solicitude only gets exuded gradually, and should be given more agency to operate.
THE PASSENGER transports audience to a rural Louisiana, Randy Bradley (Berchtold) is a self-effacing, unambitious 21-year-old fast food worker. One morning, his coworker Benson (Gallner) snaps up after Randy is bullied by another coworker Chris (Laureano), he murders everyone in the premises (body count 3) except Randy. After cleaning up the place and dumping the bodies in the freezer, they drive away, Randy becomes his hostage in the passenger seat. However, what follows is not exactly a killing spree, but a seemingly altruistic gesture from Benson to help Randy figure out why he is such a doormat.
So it is an odd-pair situation where one of them is a psychopathic killer, but surprisingly, Benson really goes out of his way to orchestrate a life-changing lesson for Randy without dissembling his menace and trigger-happy spontaneity: driving him around to meet Randy’s ex-girlfriend Lucy (Leon), to learn why he is dumped and later paying a visit to Ms. Beard (Weil), Randy’s second-grade teacher who is injured in a bloody accident which precipitates him to assume the pushover defense mechanism towards the society at large.
Without emplacing too many turn-ups for the books, THE PASSENGER earnestly invests its time and attention in carving out Randy’s new-found confidence in dissuading Benson from doing something irrational and violent. There are moments when it seems they can be quite a perfect fit because each is beneficent to the other, and maybe, a new lease on life can be granted even to a mortal sinner like Benson. Such fancy is punctured when a facile, workaday suicide-by-cop solution transpires in the end, and we still have no inkling what makes Benson such an enormity. As if people like him do not deserve salvation after all the effort the film endeavors to convince us he is not the impersonation of pure evil. Compared to Randy, Benson is the one who is more hurt for a savior, it is a pity Randy and the film fall by the wayside.
Be that as it may, the two leads are both in fine forms, Gallner is alternately a hog-wild, gun-toting monster and a persuasive, no-nonsense mentor capable of indoctrinate some self-esteem into a pipsqueak, who is rather superbly incarnated by an earnest, smoldering Berchtold, who has that uncanny gravitas and resolute to pull off Randy’s spiritual transmutation from an apathetic nonentity into the salt-of-the-earth type.
So if SWALLOWED is a guilty-pleasure delight with its conspiratorial parody of transgression and subcultural defiance, THE PASSENGER demonstrates Smith’s more open-armed stance of touching the tenderest part of humanity, and establishes him as a filmmaker to be reckoned with.
referential entries: Carlo Mirabella-Davis’s SWALLOW (2019, 6.9/10); Sebastián Silva’s ROTTING IN THE SUN (2023, 7.4/10).
当快餐店伙计本森打死了欺负懦弱兰迪的一对狗男女和经理时，开局可以说是相当炸裂，演技也全部在线，尤其是兰迪的懦弱演的让人咬牙切齿。一个狂躁的杀人狂本森和一个懦弱的兰迪人设迅速立了起来。之后的心灵救赎故事却拖沓冗长起来，莫非换导演了？
首先是本森塑造的不够丰满。本森可以是个压抑自己很久的暴躁中年男，因为那一对欺负兰迪的狗男女惹了他，本森毙了他们。
但是之后呢？一般情况是本森冷静下来，知道闯祸了，开始跑路，途中向兰迪交代一些人生经验，最后死去。影片描述的是本森迅速进入不计后果的狂躁模式，同时又开始帮助兰迪见女友见老师，帮助其成长，这个有点不太可能。因为一个狂躁的人是不可能耐心教育他人的，兰迪一定会尿裤子的。
兰迪的求生本能也应该是安抚住本森，协助或跟着跑路，而不是去见女友见老师。
总之，后来的剧情有些生硬了。
Masculine bonds are under a particularly psychosexual scrutiny in American queer filmmaker Carter Smith’s third and fourth feature, SWALLOWED and THE PASSENGER, both delimit its storyline within a taut 24-hour span.
SWALLOWED starts with two 20-something friends Benjamin (Koch) and Dom (Colon) in a small Maine town, sharing their last night out before the former heads out to L.A. to pursue a career in the pornographic profession. Thinking of earning some quick bucks as a parting gift to Benjamin, Dom accepts a nightly drug run to Canada. Under duress from the surly contract Alice (Malone), they are coerced to swallow five condoms containing an unknown substance (Dom 4, Benjamin 1) and subsequently cross the border without rousing any suspicion (a part which crucially negates the necessity of swallowing the drugs in the first place, they can simply hide them in the car), but the problem is the excretion. An unexpected punch in the stomach causes Dom to experience excruciating pain and other strange symptoms. When Alice brings them to a cabin in the woods, things only get more violent and vicious when her boss Rich (Patton, the incongruous combination of brutish appearance and swishy mannerism) manifests himself.
Shot on a shoestring with camera barely venturing out of medium shots, SWALLOWED puts intimacy in the forefront. Right out of the box during the clubbing scenes, it is palpable that Benjamin has hots for Dom, who seems avoidant towards the hormonal closeness, whether because he claims to be straight or it is the moment of leaves-taking, he does want to cave in for his weakness. The rapport between a gay man and his straight friend whom he has a crush on is a knowing cliche but Smith doesn’t want to cheapen their feelings and especially after the story takes a wrong turn, it is the two men’s heartfelt affection that becomes a mental support for Benjamin’s ensuing bold actions.
Another delicate and deliciously unfolded masculine interconnection is between Benjamin and Rich, an old queer who smacks his lips all over the former’s Adonis physique (full-front nudity is a must). The gamesmanship between a predator and his prey, and how the table is eventually turned. SWALLOWED is awash with such racy innuendos, like Dom’s prolonged erection as a side effect of the leaking drug (a close-up of Benjamin swallowing his saliva is a nifty tease), or Benjamin’s fist work to extract the condoms from Dom’s anus (thankfully, the film’s coprophiliac predilection doesn’t really aim for verisimilitude), all play up to salve the thirst of the film’s demographic. Koch makes a good introduction as a new queer leading man, but Malone’s Alice getting fridged unceremoniously is a letdown. She is tough-as-nail, her maternal solicitude only gets exuded gradually, and should be given more agency to operate.
THE PASSENGER transports audience to a rural Louisiana, Randy Bradley (Berchtold) is a self-effacing, unambitious 21-year-old fast food worker. One morning, his coworker Benson (Gallner) snaps up after Randy is bullied by another coworker Chris (Laureano), he murders everyone in the premises (body count 3) except Randy. After cleaning up the place and dumping the bodies in the freezer, they drive away, Randy becomes his hostage in the passenger seat. However, what follows is not exactly a killing spree, but a seemingly altruistic gesture from Benson to help Randy figure out why he is such a doormat.
So it is an odd-pair situation where one of them is a psychopathic killer, but surprisingly, Benson really goes out of his way to orchestrate a life-changing lesson for Randy without dissembling his menace and trigger-happy spontaneity: driving him around to meet Randy’s ex-girlfriend Lucy (Leon), to learn why he is dumped and later paying a visit to Ms. Beard (Weil), Randy’s second-grade teacher who is injured in a bloody accident which precipitates him to assume the pushover defense mechanism towards the society at large.
Without emplacing too many turn-ups for the books, THE PASSENGER earnestly invests its time and attention in carving out Randy’s new-found confidence in dissuading Benson from doing something irrational and violent. There are moments when it seems they can be quite a perfect fit because each is beneficent to the other, and maybe, a new lease on life can be granted even to a mortal sinner like Benson. Such fancy is punctured when a facile, workaday suicide-by-cop solution transpires in the end, and we still have no inkling what makes Benson such an enormity. As if people like him do not deserve salvation after all the effort the film endeavors to convince us he is not the impersonation of pure evil. Compared to Randy, Benson is the one who is more hurt for a savior, it is a pity Randy and the film fall by the wayside.
Be that as it may, the two leads are both in fine forms, Gallner is alternately a hog-wild, gun-toting monster and a persuasive, no-nonsense mentor capable of indoctrinate some self-esteem into a pipsqueak, who is rather superbly incarnated by an earnest, smoldering Berchtold, who has that uncanny gravitas and resolute to pull off Randy’s spiritual transmutation from an apathetic nonentity into the salt-of-the-earth type.
So if SWALLOWED is a guilty-pleasure delight with its conspiratorial parody of transgression and subcultural defiance, THE PASSENGER demonstrates Smith’s more open-armed stance of touching the tenderest part of humanity, and establishes him as a filmmaker to be reckoned with.
referential entries: Carlo Mirabella-Davis’s SWALLOW (2019, 6.9/10); Sebastián Silva’s ROTTING IN THE SUN (2023, 7.4/10).
我是不信找不到她。
周五菜场上新，该买菜了，我没上集，往前走往前走，就到那个最潮农贸市场，在这里已经住下满满30年。
三十年总共认识一人，是个女的，牙不全，镶一嘴，头发灰头头，半发，脸神一着是个男人，她是女人，今年也比我小，小70，她丢了。
这菜场就是她让我认识，第一次来我就说，这不行，她脸都怪满朝我问，真关心，怎么个不好，我说太潮，真么潮你没试出来，她嗯半天没再讲，我那天在她那头发顶，看见老多湿招牌，净湿招牌，昏昏子头头，一点生气——没有！我那天到逛出来气都不顺，她看出来，就也没说，反正她是比我矮小半头，只要不抬也踫不上我脸。
她这个人嗐！不孬，就是太自闭，我刚见她时候她就这户，越往后眼袋上来，灰黑滚鱼儿我从不说，她早看出，但又有么办法，她一人住，在昏黑菜场，净听她捣楞这些个子事，她能出来就不孬。
那才来可，渐渐心就活泛，到老有个伴纯买菜也行啊，她都我看就蠢，抽么头的不吭声，出来菜场和菜场一样，没大见她怎么抬头，至多挑巴子菜讲，这芫荽好，芫荽啊得吃，通气，哎你见过这个么。
我一看我真从小到现在头次，那叶儿上滚露珠子不化，这么菜！？
冰菜，冰菜，你也没听见说过吧，她这时也不转头看我，手摸摸子上头，一层霜花子，糊在厚墩叶，我心思使劲摁没，进到叶里，珠子不掉，它不掉！她兴盛起来，她兴盛着抓起个大瓜子，那一小片叶扒她掌心门，堆耳朵，绿耳朵，我受不了，凑近看了看还是片冰，真神奇。
我和她那天都问卖的，她看着我俩就是小孩，光笑，我和她一路嗨，老说冰花，冰花，冰花这冰花怎么还要是个菜！？
菜！——清脆啊，炸到半阴乎乎天，和傍晚小鸟儿叫，有她嘛不孤，再从俩边小道口走回家。
我现在住的是个镇。
还是有没拆完东西，就说这菜场，要到得下个里份，就是巷子，那天我拽她就走这种掉洞，进可没走回来到这她说哎！你每天也不容易，后来就不说么，闷头头和我走，这种里份净石头，那都是纯大石头！发青，冰冷，一块像段水泥桥，实轴，把这大青石排密，就是个垛，下台子有扶手啦，那手边边磨水滑溜照人，夏有小孩坐滑梯，秋清冷，我和她就不看，光注意下阶子，这里就是条石，里头有裂缝她说这才好呢。
我说哦对，对啊这有古味儿，我再这时想看她了，她就在我不右就左，反正没不了她，俺俩下台子。
就是经常，经常有些悲意思，催鼻酸，她那回想说别动感情我看她脸笑，这真不能，七十大几子了，一掉头就沉，不经躲，那童年可，有万紫巷，就这种掉洞。
她这都说那不一样，你记不准，小孩小孩就是地滚，看么都高，以后净笑话，出不来几个牌坊真叫太虚幻境。
我每回被一挡泪回，这么说得感谢她。
她名字三字，记不记算不要紧，主要是人，她就再年轻，老啦老我也认。
今天还要下雨，我出门就摸摸衣裳，她穿上了么今天？那天她就身绸，我该不说过时啦，我现在不也是，甩一身花椒叶叶子，70年代花样，青天底黑小碎，一身花，我就这件和她有一件，其他我教她她也不听，她说你这不老？我爱材，俺姥姥的不“材”！？ ，她笑得可好。
不要再鼻酸啦，摸摸就还能出门，这不才10月么，她才走一呀月，她能回。
早上剥个香蕉，是双胞胎，我不信它不断，使劲掰，我得浇到个热奶，通便，它不是并从堆么，我俩儿手一外，抱着，我使个狠劲开了，四散八落，不一分二，嗯像巴黎圣母院，不俩头过。
才开始我掰不开，满屋静头头，我拿着香蕉，心话窄桌亮光大，就从那掰烂，我一愣，头前头还是我，那个圆镜里头我左头后，那片头发，特别圆，散活，我拿起镜子，左右看，和雾样，我和她也说。
这俩天学习缝纫，就为她。
我用青线，紫线，黄线，红线，绷出她，她是这么样，上宽头发，这里我黑线咬实，就几根子灰子，我要她漂亮，黑多，宽鼻儿，厚双眼皮子，这都用灰线，嘴绷红，脸面用黄，我缝了个脸，最后把这脸贴到街上。
你奶奶也有个缝纫机？这天她就坐前头，我给她递茶么时，她就是我夏天奶奶，坐缝纫机前头，那年缝件家衣裳说让你妈缝！她笑老长了，啊！？回来了，我也笑，她接过茶喝，外头就不是那香椿，她头顶也有片雾。
第一天贴到地铁桥，还在修，没事，把布粘结实，底纸，一贴就上，那都大绿栅子。
我摸摸还是绸，右手挎个篮子，我原来从不带篮子，我快走出潮场，我打哪进的？ 我连回头都慢，周围招牌灰绿，我能听见我心口，我真没缺什么，老害怕，踫上楼下老贾，打招呼，没怎么抬头就是张，她在顶上半笑。
晚上刚睡又一吓，我拽上口大气，琢磨在梦里我真喊，我说你啊，在哪快回来吧，我这几天都去买菜，完全醒我就猛想，最后放心，没在白天丢人。
我家就直直向前，拐个大弯，有公园，这里变样，这几年活动地就和她，俩儿人，谁家不欠谁，没回去晚了抱怨，那种小菜场论它潮也个世界，我跟她过惯，空下几年这里就扔我，全部成空旷大草地，早先上石头当凳小沿子没，拆干净，平铺大草原，大树请到边，我该在她没走丢给她讲，我是有那么一俩棵树，踫巧她都见过，细香椿，粗无花果，这几年净跟她，一头闷走道，大家都在长年龄，我俩漓出来了，我跟她倒谁不喊谁光棍，来到棵大树。
树不是香樟，3组椅子，朝东，横朝南，坐北，最北坐俩儿人，女，老少，搁那交谈，小点的手居然放老腿，我眼前刮点微风，就是她那边的，脚底有筐小雏菊，有窝苦甜，接着从鼻子头没，我得马上把种眼神叫下来，太直勾勾。
她和老的差20岁，我和她差不多少。
眼前居然是坏椅子。
背上接岔有，横板光单条，没人管了，掉下来，坐上倒全，这是在她丢以后，在前也有！？
她舅舅去年在个楼上跳下，找的个外地，说是玩玩，最后是南方，一家旅馆，这楼上不不让开大窗户么，他就从楼窗户里跳出来，一切回来她写过千字文，简单记了记。
我听见小鸟，是一个，又家门口那种，老一个鸟，也不孤，叫起来动听，醒迷糊傍晚只要它来我叫耳朵，把这时贴枕巾那片耳朵正过来，它自个儿自由，转着巧找音儿。
她舅舅！？，她都多大了，她说她舅舅有忧郁症，他舅母他孩子说什么她没在里头讲全。
我到家这天做了把椅子，原样复制，我有个夏席子，坏半，净掉竹条子，正好做椅，绞绞完事，接岔子还是用针，我看着掉条背。
春天来到。
我被梦吓坐起来，出梦也被看到柳枝，我照天骂我自己，老天爷！我王八蛋又起晚，再下来头就见嫩柳叶，翠，我来到桥底，最后巴巴子绿门拥，轰隆隆打雷，我把冲乱头发一摆，就是原来那纸地，现在盖层土，底下还是绿栅子。
我不贴认人纸。
秋春春秋就和玩样，挒下来比粘多，最后我都想摸纸脸，她脸像坏笑，我心话这才几月？你先这样，这时经常从后肩贯风，我不打算再找她。
春天到我不怎么出门，有天插梨叉子又坏，灯底，变形钢，曲牙子，我恨我，这时叉子发动静，凉，就是凉，我最后要洗这个，稍微一使劲，它断，它断后我大恨，再想刚才更没用，第二天我走下老楼，她还在这绕迷糊，真幼稚！你看，你看它能不花眼么，一二，一，二这就又是一，一，二这又有点像一凳台，我听见我：哪里？，我走下这种宽楼梯。
一影子紧巴巴，一人缓慢，闷头头她看到楼头有花，这是春天，谁又让她住到这种楼，拐三聋四，还要下去，我朝假花再一眼就门口啦，这是春大月第一次，得出，得出，回来再不做盆假花，假的花。
楼尾巴是大台阶子，起头垦，像转笔刀削出来，她一共也没多上楼，我记住她说的，我不想记。
出门在垃圾箱看见个椅子，它有厚垫，看得我发笑这怎么？！它怎么……回家后其实那不是厚垫，我把它做厚，做厚，做厚，做一切厚，包起来，谁都再能坐，老试不出凉，把弯号再弯，打6卷，她要以后再能回也不听她。
她有时就在数凳台，她有时就在玉兰底下吹号，她有时数着台子，刚吹完号，她在玉兰树下衬的她，看吧，看她那个样！哎，哎！我转头想这是不是要明天扫一扫那段楼梯。
楼梯是静，假椅子静，玉兰静，假椅子静，它呆在我小橱，特别小，钢的，能多大，号铝，楼梯上正没人，回来的关门，要出门要等到明天早上，回来到家的都关上了门。
安静，静，头顶还有灯，我一激灵，差点要掉下沙发背，再看窗户，现在那楼和外头都太静，我控制着自己，找书，打开书进去，进去以后看到那截楼，它还那样，没土，这点也不恐怖，老木头扶手，到平台包木头，半墙木板，我控制自己，到文章里，最后一扔，撞地声我心思要不是有人上来？
我没开门，贴满脸缝，夜1点20谁还有人。
我起来后手直，还在摸那段号，一晚上摩擦，生亮，最后郑重其事摆到头一个边，那个是么我见了就忘。
玉兰真在开。
现在中国大学再次开放，前后5年？，我五年认个人，这人再回来还需五年，下年，我坐到大学教室。
我和我妈，我和这个女老人，前后分开，都在这个屋。
我和我妈窗户口外头没花，树，树，树，全部背椅子，全部亮堂，全部是黄，一黄，二黄，三四黄，几年就是几年，再来是她，她也女人，我不再想，外头玉兰就玉兰，玉兰太满啦，争着奔进来，窗框子下椅子，还有本书，玉兰太多啦，没了些声音，我再看不见她经常给我后脑勺，光线穿缝，她有一俩次摆过头，接着滑到玉兰我都看到我自己，她也忍好啰。
学生们轰一声进来。
我到楼底看这棵玉兰。
个个朝天椒，刚才她们惊奇我没感觉，他们这时快都坐好，我想她要往南走还有这东西，要上西，没有玉兰。
她忽然很沉浸。
她说她没有在看玉兰。
我看见了，她一头乱发，眼旋进眼窝子，扯到四面八方皱纹，都到嘴边来，鸡脖子猴出喉头像个男人，垦到从前她穿那件小豆箕花毛衣上，我一愣怔，她这么老了！？
楼上学生呼的又下来，充满那个旧门，俩对开红木头，走男走女，他们分别漓出我来，从我俩旁再走远，我得等，等她们会儿她们走光，她也不再回来。
我又开始快走。
只要走，不停走，她就还在，她离开不长，她不存在那张纸上头，我也不再贴，那么她现在在哪？
到家后我买到新叉子，绞香蕉绞萍果，都泡到黑芝麻白奶，我是看见她了，但是多少年后头，早呢，她要是死，那就不是这样，凶多，可能要能见她也不会这么老，简直恐怖，头发嘛，比她苍，她那个小房子外头那棵白玉兰，才抵她五头高，我看得清，不多，白头发数得过来，她不像老人，就是小孩，抬头片兴盛，口大眼大，张口全是叹叹，肉头头脸，哪截出来吓人烧鸡脖子，掏出男人喉头？不会，一点不会，她那天她那身她那棵小大树，我记全。
没有这种阴天，她在一片灰绿中下降，心神就快要到回光返照，讪讪，乏力，枝子远远吊高头，她踫不上，后世儿了缩她脸上，她真死了么？提前告诉我不贴纸后，她早就这样了。
我心憋得慌。
我翻手机，这是她发给我，这也有棵树，是大叶女贞，这时她仰拍，全部是云彩，拍掉以后她就没，又闪我回，她这个照下没说什么。
我看进去，什么都没有，只有棵树，这种树一直高大，一直叶茂，没有其他新意，后边就是水洗蓝天，白云压地，没有什么，没有什么的。
那就是我漏掉什么，不过是有呼气，朦胧汽，她下个照片更正常，那就是她一天下午，照的个春草地子，俩个喜鹊分开道，一有食一无食，身后花树，这边空椅子，俩抱树梅。
采了大光圈，前红梅虚，后密白梅，一片祥和，不像中国。
这是我她走后第一次看照片，她也可能没死，我就能看，她要是不在，就和我妈一家人，我9年不敢看照片，也算不得好事，我也没发现她“死”因。
我到有这三棵树的原地看，一个在家近，小公园，添水有湖，她找的这两梅现在出叶，盖住的也是些旧萼子，看不出谁是红梅谁白梅，底下倒原样，一片绿深草，没变，她那棵大树，叫女贞的我只能也在这小园子找，这她不告诉是在哪，我想应是南方，后牌楼妈祖式样，她不告诉我从一开始就没问。
这里这女贞早结黑子。
比那大也乱，没吸引除我外的人，他们都踊踊走开，也说不笑，我就这么走过去。
这次我复制成功，它将是棵茂密树，料子我想等她回我就说，她死地球上就我知道，它很靓，她爱树我也爱，我没跟她说，她经常拍给我，我没有一棵树赠她，这棵大叶女贞美，我把美贴到叶子顶，那上头经常停住些东西。
我不再找她。
我还是可以每天都要到菜场，菜场的菜每天都在等，我每天还是可以带回新鲜的，第一次踫上我的，好的菜，然后回来到切菜板子，然后认真做菜，认真炒，每次都不再有她，兴冲冲一劲，添醋啦放耗油多这事那事，我耳根子再要不得的宁静。
她就吃过一回我的菜，那次仍然是虾，没几人是不愿吃虾我说，她抿嘴，咸不咸嗯？她真吐下来一口又搬弄着桌子面讲淡，淡了，是淡，她一下子惨然到我家了，我现在仍然在桌子那头，看这种脸。
她继续老，认人害怕的老，我不怕，我也更老，我怕她老，她又不得不这样老的下去。
我还有个本子，里边贴满从她走丢，这群仍在热讨帖子，那都又是些景，我只选取三张，打印出，贴上，第一张转眼到北方，大北极啦，太北，这应该是挪威还那边，冰冷，冻云，还是冰冷，冻云，我只要出门那就是湿地悬崖，全部该有的全都有，可那是没生命的，更加厚重，发出湿来，每天的路石，房子不少，挨家挨户得“找”，它不隔绝，都在相连，灯光一片，万家灯火，张灯结彩，张灯，你得找，周围太冷，人们是出不了手。
最近距离拉不起来，还要有远，那就是雪山正中心，那里有家农家超市，那里仍然要有小型奶站，人们出手很难，发涩，普遍涩，这出不了手，就走到那俩家也要全家协力，还是要走。
人出手并不难，她要到这种地方，一个灯塔，在这里她就好找，人不多，空气稀薄，被大海吃全，风不缺，刮吧，大刮，如果有俩个人不幸福，掉到这个地方，只有一条栏子，只通向一个点，没有任何岔道，不会失踪，再次失踪，它只有大海，她出手绝对快，不再说周围太冷，除冰山还冰山，你看那都是远山，出手也挨不多长，会放开，得自保，这里不，绝不，绝对不，你一失手就是大海，万劫不复。
比人取的果险，砺，这样大家倒一下子好接，过程快，不磨折人。
也还有处绝佳地点，那就是回来，回到故乡，将要有段小河，有青石板子路，垒砖头吊桥，这边开窗，窗户里边灯火通明，那都是些衣服，谁的，我的，她的，我又可以坐到近河水，将有圈小篱笆子，围个座，放茶恭水，映湖走盎苗，底下全绿草，顶上谈笑风生，都是她和一个人，这人正随时准备给她递茶碗，看她夜模样，随时准备再次找她。
盎绿水，池秋夜，都走，剩下影子也不稳，水急就刀，裁个起没完。
早上记梦，再次有万紫巷，它是那种纯石头物，都裹紧发青的，灰绿的，石头，用尽力气包，用尽力去捏，用尽力气窝，左边小店铺，石头的，右边小店子，大青石头，那种下来就看见，特别稀奇，绝无仅有更大宽石头打边，像廊顶的扶手里边，正走俩老人。
一个梳老式娃娃头，面色凄惨，像中国作家冯冀才，她嘴厚，那个小巧，柳柳子头发，白的多，比冯冀才矮，比冯瘦，要马上瘦，就把手放到冯手弯，俩个人你护我帮衬，正在走这条无声小道。
就和整天在下雨。
地老是青。
她再看不见张贴纸。
我每天上菜场的生活又开始。
有框架有色彩
而且男主的演技特别好，那种无辜可怜的感觉，
而且跟女老师的这部对戏真是让人感慨
我可以恨一个人，非常恨非常恨，你跟我道歉我也不会原谅你，
但是如果你没有恶意，我也假装我没有恶意，渐渐的我的恶意就会消失了
女老师不是假装没有恶意
但是我们可以假装没有恶意，有时候解不开的因果就只能当作没发生了，人生本来就阴阳残缺文理不齐
除开场有点血腥外，电影是地道的犯罪片，暴力但不血腥。豆瓣标签恐怖片，纯属误导。nn1.戏剧张力nn乘客是一个被动角色。你不知道将去往何处，甚至忘了来时的路。而很多人在这个世界生存，也没什么主动权，被动地活着。片名《乘客》，就是这样一个隐喻。n电影开头，男主去上班，被店长安排“升职”，被同事欺负，吃过期汉堡……他对一切逆来顺受。这时，男二号，也是男主的同事，从车上找来一把枪，打抱不平，大开杀戮，把欺负男主的人一一干掉。男主由此上了男二的车，成为“乘客”。n男二号希望帮助男主直面自身存在的懦弱、恐惧。他们去找男主的前女友，她之前“因为猫死了就提出分手”。两人见面，前女友告诉男主，分手的真正原因：他太自闭，对周围的事漠不关心，对女孩不主动……男主这才知道，几年前为何被甩。n他们又去了男主的小学老师家里。男主二年级时误伤了老师，导致她左眼失明。十几年来，他一直为此自责。不料，见到老师时，她并不像男主以为的那么惨。她和男主拥抱，并谅解了他……n这部电影的戏剧张力及其出色，个人认为是2023年最好看的电影之一。从开头男主被同事欺负，成为“乘客”后被“司机”（男二）支配，和前女友面对面，见曾被自己搞失明的小学老师，男主的麻烦事一件接一件，每件事都暴露他的懦弱和恐惧，每件事都牵扯着他与外部世界的冲突和与内心的茅盾。这些冲突和矛盾接踵而至、不断升级，让影片呈现一种“昆汀式”的粗暴快感。当然，这些事件也在慢慢激发男主的勇气和能量，为结局的反转做铺垫。男二号作为一个变态杀人狂，人物设置不够充分，以致其言行有些莫名其妙。这是电影的缺陷之一。nn2.恐惧之源：外部世界还是内心深处？nn远古时代，人类的恐惧多半来自猛兽。n现代人的恐惧，通常来自同类——人际关系、社交的压力超过一定程度，就形成了恐惧。社恐这个词应运而生。n电影《乘客》探讨的是，一个人该如何直面恐惧。n人际关系造成的恐惧太多了。比如，校园霸凌，职场软暴力，原生家庭伤害，恋爱关系里的PUA，等等。《乘客》里男主的人设是，有一个控制欲强的母亲，因此他成年后依然没有主见，形成了被动型人格。他7岁时做游戏误伤老师的眼睛（他很喜欢这个老师），这让他害怕与人互动来往。n男主的恐惧，似乎是成长经历造成的，来自外部世界。但对于我们面临的恐惧，我们自身至少要承担一半责任。我想这是《乘客》想表达的。某个事件，可能会成为我们恐惧的起源。但如果没有及时处理（有时仅仅是面对）这个源头，那么，经过时间的发酵，内心会使这个源头越来越坚固，恐惧会越来越强大。n在这部电影里，那辆开往穷途末路的车，就是恐惧的象征。被其主宰做一个“乘客”，还是想尽办法终止这段行程？男主最终选择了后者。