看《剪辑师》的时候，我一直在“这到底是在认真拍还是故意搞怪”的怀疑里摇摆。和同类复古恐怖片不同，它不满足于模仿，而是把那种廉价布光、生硬配音、过饱和色彩的B级片质感玩到极致，甚至故意留下剪辑错位和穿帮镜头，像是在对观众使眼色：“别认真，一起玩。某天剧组女演员接连遇害，手法竟跟他正在剪辑的恐怖片如出一辙。剧情方面，它不玩高深反转，而是用连环杀手的拙劣作案和主角的倒霉遭遇，堆出一连串血腥又愚蠢的黑色幽默。他一边对着导演的咆哮和制片人的揩油焦头烂额，一边必须在下一段胶片被剪碎前找出真相。乌多·基尔演的那个意大利导演，瞪着眼珠子甩着油腻长发的模样，又疯又滑稽，每次他一本正经讲“艺术”的时候，全场都能笑出声。

From members of Winnipeg’s infamous Astron-6 collective comes a loving homage and absurdist send-up of the Italian giallo genre. Rey Ciso was once the greatest editor the world had ever seen — but since a horrific accident left him with four wooden fingers on his right hand, he’s had to resort to cutting pulp films and trash pictures. When the lead actors from the film he’s been editing turn up murdered at the studio, Rey is fingered as the number one suspect. The bodies continue to pile up as Rey struggles to prove his innocence and uncover the sinister truth lurking behind the scenes. (Tiff 2014)

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