好家伙，这部《美杜莎之筏1980》可真够劲儿！导演完全没按套路来，镜头晃悠悠的，像喝醉了酒，配乐也怪，有时候突然静得吓人。奥尔加·卡齐扬饰演的难民没有一句慷慨台词，全靠眼神躲闪和手指颤抖传递恐惧，而弗拉迪斯拉娃·米洛萨夫列维奇在集体暴乱场景中的沉默更让人揪心。要是你只想看个爽片放松，这部可能会让你睡着，但你要是想找部片子让自己沉进去想点事，它比好多故作深沉的艺术片都扎实。这部电影不追求戏剧化的反转，而是用类似纪录片的耐心去逼近人性的临界点。如果你着迷于《蝇王》式的群像暗战，或者想体会人在极端隔绝下如何一寸寸磨去伪装，这片子会让你坐在沙发上都攥紧拳头。导演戈迪纳用长镜头和近乎静止的构图，把一群困在孤岛上的角色拍成了活着的籍里柯画作——每个人都被迫在饥饿、猜忌和沉默中重新定义“人性”。

　　This is a brilliant surrealistic film.
　　But also a fully realistic story about a time when the brave avant-guarde artists were trying to explore the unknown landscapes of human possibilities.
　　The contrast between two realities: the poor village and the dadaist artists is shown very smart and brings the possibility of changing the world by the art.
　　Unfortunately, that progressive ideals of making the world better by revealing new areas of imagination, that ruled in the first half of XX century, were crushed by the war.
　　And, the tragedy finishes: the artistic ideals are dead, international art brotherhood also, but, as a real disaster: Yugoslavia is also dead, as a country, but as an artistic vision of nation's brotherhood, too.
　　So, the art falls apart

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