STATEMENTHere and nowIn the film Balkan Baroque, one has the impression that the character invents the past as she speaks, here and now. This past seems to have no reality outside the moment it is evoked with the force that is characteristic of film work. Here, in Balkan Baroque, it has become the present, the present of the film unwinding before the viewer's eyes.What we see on the screen is in the process of happening-it is the very gesture that is given to us and not a report on it. The universe of the film is given in a perpetual present. In other words, this biography of Marina Abramovic, which implies a number of past things, is in process of unfolding before our eyes, here and now, as we watch Balkan Baroque. 'Elsewhere' and 'formerly' do not exist. There is no longer a true reality, inherent and external to the film, so there is no longer anything but the sole reality of the projected images. The film, the universe that it reveals, suffices by itself, at every instant, erasing itself as it goes along, within a loop that is literally never-ending.We are therefore dealing with a subjective, mental unwinding. The work Balkan Baroque is not account of an exterior reality; it is its own reality. The only time to be considered for this biography is the projection time (63'). Balkan Baroque is pure fiction, an imaginary production in which Marina Abramovic plays different roles, including the role of the artist doing performances.

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这部电影通过一个颓废的中年男子慕蓉辉，一个沉默寡言的中年男子笠水，以及一个加入的三人小组，讲述了一场由一场意外引发的抢劫案。

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先说结论，《黑铁的鱼影》确实是柯南后期最佳的一部剧场版。一方面因为凶手是组织成员，所以不需要像前几部剧场版（以《业火的向日葵》为甚）那样，蹩脚生硬地编造杀人动机。而这，也让《黑铁的鱼影》避免了后期剧场版中最令人诟病的部分。另一方面，在后期推理戏和动作戏两手抓、却两手都不硬的情况下，再次淡化推理部分，着重刻画组织和主线的剧情，是m最正确的决定。也因此，《黑铁的鱼影》整体节奏流畅，也终于不再给人前几部剧场版那种拖沓疲惫的观感。而最重要的是，柯南剧场版时隔十一年，终于再

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慕蓉辉、笠水两人颓废不堪，但是他们的抢劫计划却意外被梅蓝天搅局，三个人不得不临时组队，一起面对危险。

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电影该剧通过一个富有想象力的故事，探讨了人性的黑暗面和道德的重要性。影片中，科里奥兰纳斯·斯诺和露西·格雷·贝尔德之间的生死相依，展现出人类在竞技场上的残忍和无情。而斯诺最终决定帮助露西赢得胜利，反映了他内心深处的善良和渴望和平。