无尽

反复看了好几遍后..................................................................................................................................................................................................................................................................................................................................发现每个人看到最后，都会问：那他们到底逃出循环没？

有人觉得出来了，有人觉得没有，然而根据《digitalspy》上含蓄的剧透：“one theory holds that the brothers are unknowingly trapped in a larger loop of their own（两兄弟不知不觉地进入了他们自己的一个大循环中了）” 。

看两兄弟刚出来时的远景。

注意那座山的山口：

之后9秒又给了反光镜里的一个镜头：

不用画圈圈都能看清楚了8？！

恐怖8？！

令人绝望8？！

其实，他们献给妈妈的那张画已经说明结局。

为什么这么多年过去了，当年孩童献给妈妈的那张画还是象新的一样？

应为这个车祸的事发现场周边已经被圈定为一个循环圈了，在这个循环圈里，时间早已被设定静止了。

还有更令人绝望的：1小时31分37秒

看到那重叠往复的镜头没？

首相导演想说的意思大家都已明了，就是人类总是在不停地重复自己错误，没完没了，有时还是故意地不走出循环：营地那群人在寻找的是永恒的平静，这群人其实来自全然不同的年代，叼着烟斗的貌似最古老，画画的女孩是在两兄弟之后才进去的，所以还不到10年，变魔术的仁兄觉得自己活了115年了....但他们全都是自觉自愿甘之如饴。

尤其是数学家，因为解不开一道难题，所以祈祷天地永恒时间静止，可以让他左后通关....至今未果。

而其他圈子里的一些则是心不甘情不愿的，比如帐篷里那十分十分十分古老（可能是南北战争时期的遗老）的愤怒的小鸟。

各圈循环时间的长短也各有不同，帐篷里的好像只有一分钟，帮助朋友解毒的迈克他们就有好几个礼拜，迈克那个爱贴纸条的老婆珍妮的循环应该很短，而兄弟两的时间.....应该是从首次离开营地10年以后开始算的。

神棍帮的时间很是含糊，首先他们自己以月亮的数量计算，看他们把兄弟俩从小孩子拉扯到成年这一点看，感觉他们的时间好像应该超过十年才对。

恐怖的事情是，这些人岁在地理位置上相距很近，但却永远碰不上，比如画画妹子曾和吸毒老有过一段。

但自从进了圈后就在没见面了，而贴条嫂嫂的老公迈克更是咫尺天涯地和她生活在同一山谷里，却无法改变珍妮永远的悲伤寡妇的处境。

行走男想要戒毒男的枪，但如果没有外人帮忙，自己就永远都拿不到。

其实两兄弟自己早就有了自己走不出的循环。

阿龙告状心理医生说贾斯丁总是要做决定，每次总是错的，所以把人生弄到如此糟糕。

那是不是这次决定要走出神棍帮的决定也依然错误巨大呢？

艾伦·穆尔黑德自己给Digital Spy的剧透是：“ But ultimately, we just want to make sure that by the end of the film, you feel like their interpersonal conflict has gone through a change. Because their interpersonal conflict was its own loop, in a weird little way. They kept on making the same mistakes with each other, and Aaron kept on submitting to Justin's will, and Justin kept on closing it. ”。

就是说，虽然老二最终冲自己唯一的家人说了本不愿说的实话，那什么”你的决定从来糟糕“”从没对过“....什么的，但他最终也还是遵循了老哥的错误决定。

他天生就是这样懦弱的个性，必须有个强有力的老大依靠和指引，这也是那东西对他一直是利诱（好吃的啦，大家庭啦，女色啦，还有大麻）而对容易质疑权威的老大就常常加以恐吓（野兽，湖怪，地动山摇，神秘力量代发塔罗牌什么的）。

无论如何，就算在大社会里，”那东西“的力量也依然存在，不然老二又怎会收到那个阻止他去加油的邮包？

这些铺垫让我不禁担心，如果两兄弟最终冲进了自己的循环圈，且是被困在那条无止尽的公路上没完没了地开车那么惨？！

是不是早早从了阿龙要留在营地的意愿还好一点呢？

很多人说这是部烧脑剧而非恐怖片，但我觉得这就是本片革新的境界——烧脑恐怖！

你会想再回头去看一遍不会怕，越看你觉得越明白，而越明白没你才越觉得恐怖。

最恐怖的还是你最后的问题，虽然有证据显示这两兄弟没走出循环，但也依然有迹象显示，如这些被困人好像都是第一次重见两兄弟，两兄弟可以行走于不同的循环就好像应该代表了他们现在还不在里面......等等。

那么这两兄弟到底走出来没？

本片一开头就已致敬美国伟大的H.P. 洛夫克拉夫特了：

连斯蒂芬金都尊其为” 20世纪最伟大的古典恐怖故事作家 “。

这次，贾斯丁本森和艾伦穆尔黑得就决定把这未知玩到比斯蒂芬金的《小丑》都要狠的地步：长什么样：未知；是什么：未知；连什么时候：最后还来个无限循环的不循环的循环，让观众——就说我吧，狠狠烧过好几次脑才惊栗地反应过来..............................................................................................................................................................................................................................................................................................................................................................................................................................................................天哪！

我也跟着循环了!

总的来说就是一个人生总是在无限循环的故事。

当然，这里面存在着无数个循环的圈，有的人循环时间短（比如那个只有10S无限撞墙的老人），有的循环时间很长（比如组织里十年循环的成员）。

不同循环圈之间并不相交，所以圈内的服装设计师看不见圈外的弟弟。

而哥哥在找弟弟的时候，弟弟也是凭空出现的，包括突然出现的房车。

但这里面有几个有问题的地方是，部分人的存在似乎有着明显的问题。

比如在仓库上吊的男人，他和他的尸体是存在在同一空间和时间里的。

那么跟据那个被锁住的吸毒男和他的朋友MIke在纵火自焚后，时间重启的情况来说，这一点是相悖的。

另外，根据剧情来说，所有人都是知道时间循环以及无法打破的情况的。

所以他们应当是保有相当一部分此前记忆的。

那么比如当弟弟离开时候，服装设计师会对着弟弟离开的方向挥手，包括酿酒师会对弟弟说：“Don't do it if you don't want to.”似乎都是说明了他们都是希望Justin和弟弟能够逃出这样的循环的。

但是从结尾处来看，Justin和弟弟似乎只是陷在一个更大的循环里。

这个循环应该包括了他们从小时候起的记忆。

从整部电影看来，提及到儿时记忆的只有兄弟俩，其他循环中的人都没有说到过小时候的事。

他们对于兄弟二人的记忆都是停留在小的时候。

那么小时候的兄弟俩是为什么没有陷入这个圈的循环，以及他们是如何逃出这个循环的，他们回来之后又逃走如果是依旧处在循环内的话，为什么他们对此并没有记忆，这些影片似乎有点无法逻辑上的自洽。

当然结局很明显的看出哥哥和弟弟确实没有逃出循环，只是他们应当是身处在一个更大的循环，并且能在多个循环内活动。

总之这部电影的循环链上存在相当程度无法自圆的逻辑问题。

但是其中的不可名状，时间空间的概念，不失为一部好看的克苏鲁风格的影片。

导演两人拍摄于2012年的处女作《决案》和2017年的《无尽》虽说是两部影片，但在其故事情节和人物角色上却有不少重叠之处，而主题更有意想不到的延续，因此作为同一部野心勃勃的作品来看也未尝不可。

比起较为粗糙简陋的处女作，《无尽》则明显地在制作成本上有所增加，令两位导演的狂野想象力得以展露。

《无尽》的剧情和人物与《决案》有延续和交叠的部分，尤其在其中的一个场景，讲述男主角误入循环时空，竟出现在《决案》里Mike和Chris的那个小木屋里，奇妙地将两部影片的脉络打通，还无意中引出对抗幕后黑手的终极方式……无独有偶地，两部影片都是由一盘神秘录像带而引出故事，而且不约而同地在传统的电影类型里逐渐融入惊悚恐怖的氛围，处女作是伙伴电影，而《无尽》则是近年冒起的邪教类型片。

故事讲述两兄弟回到十年前逃出的邪教组织，却发现这个邪教的真实信仰与之前不同，还意外发现一个更加阴险的秘密。

这部无论在制作水准还是主题概念上都远超过处女作《决案》的粗陋和直白，出现一些玄妙的特效场面。

而后半段惊现时空循环的科幻情节又透露出核心主题，日常生活的平庸本质本身就是一种“循环”，一旦陷入这种生活模式便难以脱身。

这个主题似乎与前一部作品《爱在初春惊变时》存在着有趣的交集，只不过前者是关于生死的宏大命题，这部回到更为现实的生活方式，更容易获得共鸣。

这部依然存在跟《决案》类似的元电影结构，甚至不惜在最后高潮部分让幕后大神“现身”，不过，这部的重点似乎不仅仅是这个幕后操纵角色的怪物。

剧本用惊艳的科幻情节将生活的本质分析得相当透彻，周而复始的行动和目标，不管时间长短，终将回到原点，这种环形时空的世界观远远比简陋的处女作要复杂和诱人得多。

有点不可思议，发现最终让我难以忘怀的电影都是恐怖片。

上一部让我毛骨悚然叹为观止的恐怖片是《恐怖游轮》。

它说的是：每个人的每一个选择——无论你有多少次机会，多么次挣扎，最终都会在每一个关键的时候犯同一种错误——最终万劫不复，指向同一个结局。

《恐怖游轮》中，支持女主走下去是对儿子的爱，导致走向循环的是自己血液中的烦躁和暴虐。

《无尽》中支持两男主走下去的是对彼此的容忍和羁绊，最终能走出循环的是对彼此的尊重和释然。

评论区有人转发了导演的访谈，然后认为电影只有一个“乐观”结局，呵呵，未必吧。

其实原文章中根本就没有这个意思，只是说导演更倾向于让大家理解这是一个 Happy Ending。

大意是说他们只是讲了一个破有深度的神秘的故事，他们不会直白的把所有东西摆上台面。

反正至少对兄弟而言，哥哥放下了控制欲，弟弟也勇敢的掌舵起了自己的方向盘，他们已经逃出了无尽的怪圈——这就够了。

同时，导演说，电影中已有导演想表达想布置的一切。

所以对一部有科幻属性设置的电影，其他任何对电影结局有其他解读的观影者都是正常不过的事情。

从商业角度上，其实这也是导演故意设置的开放式伎俩，可以在后继的故事中随时展开新的篇章。

我觉得可以肯定的是，后面还会有第三部曲的，可能会讲怪圈中的人如何逃离（例如麦克和老婆如何相聚之类），但导演们还没想好如何讲好这个故事，总之我相信会有。

如果我是导演，我就会有。

WHY NOT?!1、影片开始的录像带，是怪物寄的。

兄弟两在重启前逃出了营地，怪物的目的是在重启前重新禁锢他们。

怪物的嗜好就是喜欢观察别人的悲欢离合和挣扎冲突（导演说这点上观众和怪物很像哈哈）。

2、哥哥的人设是控制欲+说谎者，营地中的不明力量让他各种恐惧，更别说控制了，所以他会带着弟弟逃离。

弟弟的人设是乐观+认死理，但十年来都活在被哥哥主宰的梦魇中。

录影带让他意识到回营地可能是一个逃脱的机会，所以想回去寻找答案做个了结。

3、哥哥喜欢跑步，营地中所到之处处处透露着怪异，无不让他无力和不安。

小到村民的眼神和动作，中到出没的毒蛇和虎豹，大到天上的闪烁和怪风。

这些其实更像是怪物针对人性设置的异象，达到逐渐摧毁逐步控制的目的。

有点像修炼小说中的心魔。

包括两人玩射击，弟弟子弹没阻挡，哥哥子弹被挡住了。

包括玩魔术时其实魔术师猜对了，但哥哥睁眼说瞎话，典型属于只相信自己想相信的人。

4、拔河的小游戏，佐证了其实弟弟是个更单纯更客观的人，顾及亲情，一直容忍着哥哥无厘头的控制权。

从影片开头弟弟反对哥哥的刷爆信用卡固执说“我会搞定”，到路上开车哥哥蛮横不给弟弟掌舵，床上聊天粗鲁打断弟弟的话，到最后两人在车是否没油的话题上，终于肯定弟弟，说出“你来搞定”。

同一句话，不同主语，一个轮回。

5、湖中捞起的影片暴露了哥哥的本质，从而成功离间了哥弟两。

片中怪物的设计是无所不看无所不能的。

片头兄弟在湖边喝酒聊天时天空明显的怪圈，可以理解为怪物无时不刻的监控。

这也解释了哥哥在营地外招摇撞骗时照样被拍的录像。

6、两人在营地入口路边悼念母亲，这里的对称天空说明这里是营地轮回世界的边界。

母亲的纪念碑在其中，所以画框历久常新。

这里的翻译也是有问题的，弟弟说 Hold Up，是说画框居然这么耐抗。

这是开始进入轮回世界的一个提示。

最后两人冲出生天，说明怪物的控制更多是一种心理控制，感觉可能是类似于《万能钥匙》中只要你信了你就中招了的设定。

车辆冲撞是一种幻想，如果怂了那就是输了。

可以设想，换做哥哥开车，他是无论如何也不敢撞上去的。

7、营地的人们还是很好心的。

虽说他们知道什么情况，但毕竟身在其中无法明言。

哈尔指引弟弟去找哥哥，卡尔指引哥哥去找弟弟，还有安娜对弟弟挥手作别，最后全体复活后目送兄弟离开。

不管如何，弟弟说的没错，至少他们曾经也是伐木累。

哥哥在这个问题上各种造谣中伤，确实非常恶劣。

可以说如果不是弟弟，哥哥要么困在里面这个怪圈，要么困在外面的怪圈。

8，前传《决案》我没找到资源看不了，所以戒毒两人组就只是觉得搞笑，暂时没有其他解读。

不过这两个导演的下一部让人期待！

小众而深刻！

为什么我觉得可以有另一种解读，是因为最后天上的一弯新月：如果说两兄弟进入了一个全新的循环，是完全说得通的，只要把怪物的设定继续完善和加强就可以，再简单不过的事情。

这种完全取决于导演的发挥。

总之怪物的真面目，猜测极有可能会在下一部续作中揭晓。

9，最后几点感悟：无知是福；越控制越无力；我觉得不如你觉得。

——————————————————一点疑问：为何卡尔上吊后，新的卡尔复活了，上吊的卡尔不会消失？

这里真心百思不得其姐！！！

看完之后的一点脑洞谁也不要太高兴，没人能逃离loop，不过是有的人的loop 短，有的人的loop长。

撞墙男的loop是10秒，暴躁男的loop是三个小时，自焚好友二人的loop更长一点，仅此而已。

主流观点说主角兄弟俩的loop是10年，但是我觉得会更长。

他们出去之后会死亡，然后回到小时候出车祸的时间点。

然后继续这10+年的loop。

但是其实我想说的是，可能我们也在loop中。

每天早起上班/上学，就是1天的loop；周末放松、休闲，就是一周的loop；元旦春节元宵五一端午中秋十一元旦，就是一年的loop；小孩子的loop会更长一点，因为小孩子比较容易接受新鲜事物，等他们长大之后就会进入loop。

最终的结果就是我们loop一辈子。

谁也跑不了。

两兄弟最后发现车没油了还能开，应该是没逃出？

还有两兄弟去到一个房子时没人离开后，有个拍摄到他们的录像带怎么自动弹出了？

人类最古老最强烈的感情是恐惧而最古老最强烈的恐惧是对未知的恐惧霍华德●菲利普●洛夫克拉夫特朋友之间会相对频繁地向彼此倾诉自己的感情而兄弟姊妹则会等待一个更为方便的时机比如临终之前无名

2017年，科幻惊悚电影《 无尽 | The Endless》海报不错，挺漂亮，但是电影本身并没有那么好看的说。

全片儿的色调怪怪的感觉，不知道是不是故意的，但是看起来非常难受就对了。

(也许有暗示)非常欣慰的发现，主角二人就是导演+编剧。

这个很有意思啊。

这个电影其实留下了很多的疑点，很多东西没有说清楚，所以才出来很多脑补的剧情，仁者见仁智者见智，因为并没有正确的答案，如果没有删减的话，剧情的表现其实是非常模糊的说。

中间有个女的画的画其实也算是非常形象了，有邪教，自然会有邪神啦 一个有强大能力，控制时间空间的巨大怪物。

这个电影剧情还是比较拖沓的，解谜元素又非常的晦涩，我真的猜想也许编剧根本没想全所有的来龙去脉（手动斜眼）。

-我是循环的分界线---推荐指数：★★★（6/10分），虽然拍的有那么丢丢的感觉，但是循环的题材已经很老套了。

又没有什么华丽的特效，一股浓烈的缺钱的味道。

减分不少呢。

没时间读完的朋友，简单总结就是导演说了，结尾是happy ending，不是loop，兄弟俩逃出生天。

http://collider.com/the-endless-explained-interview/‘The Endless’ Filmmakers on Their Trippy Mythology & Deciphering That EndingThis week, Justin Benson and Aaron Moorhead‘s The Endless rolls out on Blu-ray and digital, which means that folks nationwide are going to be unravelling the headtrip horrors of the film’s unnerving, mysterious Lovecraftian mythology and looking for some answers.Earlier this month, I published the first part of my conversationwith the filmmaking duo, which spanned from the duo’s early ideas for expanding the universe they built in their first film, Resolution, to the experience of taking the finished versionThe Endless around the world. And now that the movie has hit more theaters, it seems like a good time to serve up the spoilery portion of the interview, which dives into what to make of the film’s mysterious mythology and ending.If you need a refresher, The Endless follows Benson and Moorhead as Justin and Aaron (yes, they’re using their real names, but no, they’re no playing themselves), a pair of bickering brothers always at odds who return to the UFO death cult they escaped as kids in search of answers. Except when they get there, they don’t find a UFO death cult at all, but a happy and healthy, if admittedly weird and unsettling, commune of people living life on their own terms. They also find something more sinister lurking in the hillsides of the remote camp — an unseen, oppressive presence that communicates through voyeuristic photographs and video clips, trapping people in time-loop prisons where it manipulates and torments them into various horrific fates for its own amusement. A frontiersman trapped in a loop of mere seconds, a man who has to kill himself every few minutes to prevent a worse fate, and the local cult, who have it relatively easy by comparison — living out a decently long three-moon loop that ends with their “ascension,” aka being shredded into bloody bits. Yikes. At least they don’t have to worry about aging.

Image via Well Go USAAnd of course, there’s the return of Mike (Peter Ciella) and Chris (Vinny Curran) from Resolution,who are trapped in the bitter week-long loop of forced sobriety and failing friendship detailed in the 2002 film. The unseen evil in The Endless is the same chilling cosmic threat we met in Resolution, and the films share more crossovers thanyou’d probably imagine on a first watch, so you’re looking for more answers on The Endless, a rewatch of Resolution is the perfect place to start. Or first watch if you caught The Endless first, which works just as well.However, if you’re looking for an easy play-by-play explanation of what goes down in the film, you’re not going to get it from Benson and Moorhead, who insist everything you need to solve the puzzles of their unconventional cinematic universe can be found right there on screen. However, the duo was more than happy to dive into the ideation behind the film’s mythology and the mindset behind ending it the way they did, so check out the interview below for a discussion of the different ways their “monster” is revealed through the characters and settings in the film, the ideas that helped inspire the unseen menace, and why the ending is more about character payoff than answering specific questions.I know you guys have said you have this whole mythology totally down from top to tail. Was that something that you had already achieved at the time ofResolutionor did that come later?JUSTIN BENSON: It’s definitely expanded.AARON MOORHEAD: The rules didn’t change.BENSON: But like withResolutionthere were … In both of these movies, there have been massive documents of things that people never see. And it’s really cool because we’re pretty sure people feel these things in the movie. The things that are into that. But like in the case ofResolution, for example. The unseen antagonist ofResolution, which is the same unseen antagonist inThe Endless, obviously. Except inResolution, the point of view of the whole film is from the unseen antagonist. There was like a massive document that went into everything about that “monster” that went to our sound designer to help them design the sound of the whole film. So that existed duringResolutionand there are things in that document that ended up more conspicuous inThe Endlessthan expanded upon. That’s just like one example of one thing.When it comes to how nailed down the mythology is… Whenthe camera pulls back on that canyon and you see all those bubbles, the time prisons, would you be able to look at that shot and say exactly what’s happening in each one of them?

Image via Well Go USAMOORHEAD: I can tell you how long those loops are, when they reset, and all of that. That exact area, we know it pretty well. And that’s desert, so there’s a whole bunch of poor animals. It’s probably something like that, but I wouldn’t say that we have an entire map of the world and who’s in it. But it wouldn’t be hard to theorize. We definitely have enough. So it would be pretty easy to take a good gander. And then, the little sequence that — the music trimmings for the montage that follows Justin and Aaron walking past the big totem and it’s in the sort of monolith carved monster looking thing.BENSON: The rusty dragon sculpture.MOORHEAD: And the rusty dragon sculpture. So those would all be individual loops that have developed their own sub-cultures and have their own interpretation of what this unseen antagonist is. Depending on how they saw it, the state of mind they’re in, and their own personalities, and all of that. And that these things they’ve created are artistic representations of how they see the antagonist. Whether they’re going specifically through the loop you see in the distance, because they do walk off, that we don’t know. And luckily, we only shot in 4K so you can’t really punch in. [Laughs]BENSON: And what’s funny is … it’s weird how important that sequence was to us because in the movie we basically, the oldest loop that you ever see is what, 1800 something? Some kind of frontiersman like in a tent, but we have a non-existent Easter Island type subculture that developed its own kind of mythology around it. Clearly. And of course, Native Americans with the totem pole. But even the monolith to us — which is kind of the big image of the film anyways — to us. it’s supposed to scare the hell out of you when you realize that’s what that is. When you realize that, that’s the antagonist of the film as seen by people that are so ancient they’re gone in America.In a similar vein, along with those monoliths I loved the ways we see this presence interpreted through the eyes of the characters in the film, like Lizzie’s art and Hal’s equation. What was your process of creating all these different understandings of this one being?MOORHEAD: I mean, that’s something that did start with Resolution but it’s so small. It’s so small. It’s like literally there’s a journal running during the credits sequence of Resolution. It’s a bunch of monster sketches, and that would have been what the French researchers in Resolution were seeing it as. So that goes way back. I don’t even remember anymore what the inspiration for that was. Besides the fact that, unless you can get Giger, the guy who did Alien, unless you have a designer on that level to build a monster … We’re just trying to figure out ways that we can present it visually when we need to at least hint at something and not just show nothing, always. And in this case, we get to show it through sketches, and through sculptures, and things like that.

Image via Well Go USAIn the case of Spring, we showed a monster because the premise alluded to nature as being our designer. And since we don’t have our own Giger, we come up with these, hopefully interesting, clever ways to show an otherworldly being or “monster” and it won’t be really uneventful.I mean if you wanted to pour a glass of wine, on a dark night and think about it. There’s this idea of every civilization has developed an idea of a deity and a God. And their interpretation of it has trickled down into our religions today. Or died out. But in the same way, their visualizations of it have looked so wildly different. And a lot of the time there’s the idea that … There’s two ideas. One is, what if it’s the same thing? What if they’re all the same thing? Of course, unified religion theory, which is kind of an idea that we play with. But we’re merging it with the idea of, what if wasn’t God? What if it was just a monster? Or what if people with porphyria were seen as vampires? You know, that kind of an idea where it’s like, “Oh, there’s nothing metaphysical about it.” Obviously, our movie’s metaphysical. But what if it was a natural phenomenon that people just tried to interpret as a god. And that’s a lot of what we’re talking about with this; they saw it as God and it’s actually just this thing.BENSON: And as you saying that, I just remembered where it comes from. It comes from … This is a deep cut. There’s a guy named John Keel, who’s the guy who wrote The Mothman Prophecies. The book is very different from the movie. It’s not a fictional narrative. It’s sort of a journalist’s account of what happened in an area over a period of time. He wrote a whole collection of other books. The one that I’ve read is Our Haunted Planet and what it’s basically about is this concept of ultra-terrestrials.I’m not saying it is an ultra-terrestrial in this movie, but the idea is that throughout human history whenever human beings saw something and interpreted it as being like, “Oh, I saw something. That was an angel from the bible.” Or, “That was a demon.” Or, “That was an extraterrestrial being.” “That was the Men in Black.” “That was the Mothman.” Whatever. That it’s actually always the same thing. In his case, he was arguing that it was this thing called an ultraterrestrial. That just basically, something that had been here among us, always manipulating the situation and everyone just seeing it differently depending on their culture. So it’s vaguely where the idea comes from. If you could imagine, there are so many species that we haven’t yet cataloged in the Amazon. Things like that. Imagine if there’s like an enormous blind spot that we just completely missed; one really big thing. Again, that’s not what’s in The Endless but it’s that idea.

I do have one very specific question. Are we meant to interpret at the end where we see the image of two cars coming into a collision, that it has anything to do with the car crash that put them there in the first place?MOORHEAD: No.That’s an interesting one where we realized that was an unintentional thing. About 10% percent of people, they’ll kind of have that question of like, “Do they?”When I watch Resolution andThe Endless back to back, something I had not picked up the first time was, they seem almost opposite ending moments. Resolution ends on a feeling of helplessness and being trapped and The Endless is all about breaking free. Was that intentionally designed for those two endings to be on opposite ends of the emotional spectrum?MOORHEAD: Oh, that’s funny. I’m going to give you a yes and no. I think afterSpring, we got addicted to optimistic endings. I think we realized that we are just optimistic people and saying like, “You’re fucked no matter what” is just not our feeling about the way that life is, or at least the message that we want to put out into the world. And also, frankly, it more comes down to the construct of The Endless where, if you’re talking in really broad terms about the movie. If you’re talking about the fact that it says, “Break out of your cycle or be doomed to repeat history forever.” It seems like we should be showing what it looks like to break out of your cycle. And like, “Does that help you?” I don’t think it’s a moral as much as it’s an exploration of it. Because there are people that do enjoy it inside their cycle. I mean, the cult at the end. And you don’t even feel bad for them. A little bit, but it’s more melancholy. It’s like, “Oh. They kind of enjoy it there.” But I think that it would have been untruthful for ourselves if we’d ended it as dark as Resolution had ended.BENSON: Yeah. It just seemed like we know, yes there is a very literal answer to the movie. And the answers in the film…It may take a few viewings, but everything’s very literal and all the evidence, if you want to call it that, is there. In terms of, where’s the movie ending in the sense of the supernatural, and otherworldly, and the sci-fi aspects, and all that.But the thing that’s definite, that’s there, that was the most important to us, was just that you’d see that there was a transformation in the interpersonal relationship between these two brothers. And that you’d see that transformation in just a really understated gesture. And that the emotional satisfaction should come from that. I think anything else beyond that, we do things stylistically to kind of like poke the mystery part of people’s brains a little bit. One example is that it’s a hard cut going out. Things like that where just like you sit there and you go, “Oh, wait. There’s another piece of the puzzle to figure out.” To think about longer. It’s things like that. But there’s definitely one answer to the sci-fi part of it.MOORHEAD: Actually going back to your questions, I just remembered when you said, “People who have viewed the movie multiple times.” There’s something that’s an interesting thing we’ve realizes. Our movies kind of exist in what people have called a Lynchian sort of universe where just things are a little off and all of that. I hadn’t seen almost any Lynch when that comparison started, but what’s interesting is, all of the answers to the movie are, I promise you, they’re in the movie. They are there. It’s not a dream logic situation. We’re not being deliberately obtuse. We just want to tell a mystery that’s got a lot of depth to it. And we just don’t want to lay it all out on the table but they’re in there. If you think about it long enough and hard enough. And you know, you might have to take a couple of, not leaps of logic but leaps of faith that like, “Okay. That is what they meant.” Something like that. But our movies are meant to be, I guess literal. That might be the word for it. They are meant to be telling a full story.

首先，影片本身没有亮点但是对我而言，浪费了我生命的里一百多分钟，并且被恶心到，这是最大的亮点。

1.这是一个倒霉哥哥救犹如“抖音上的脑残”般傻必弟弟的故事。

为什么弟弟像抖音脑瘫，如果大家经常看抖音评论，任何热门评论下，都有又无知又执拗又可恨又坏的垃圾存在，不对，不是垃圾，是屎！

2.如果强行观看，建议直接跳到一小时处，不影响理解。

3.曾经幼稚傻逼的时候总是喜欢给故作深沉的烂片打高分，彰显自己高人一等的审美，现在长大了，改正了，才明白，总有一波人正幼稚着。

5.同类型可看《意外空间》，教导演做人，谢谢。

以上。

以下内容会有剧透这部剧开始看真的会睡着，前面其实一直都在铺垫，但是你没看到后面根本不知道在说什么，很是无厘头和无聊。

号称解析的也有好多，但我觉得有几个地方跟我理解的不太一样。

首先，影片说的是有一个怪物可以控制时空，会用一种石柱圈地，被圈起来的地方时空就会循环，如果你恰好死在这个时空里，那么你也会跟着循环，也就是陷入循环。

这个我们可以从卡尔和哥哥的对话中了解到，卡尔这个角色我觉得就是背景解说，他的话都很有用。

其实时空圈的规则没其他人说的那么复杂，不是每人都有自己的规则，也不存在失忆的问题，陷入也很简单，就是死在圈里，时空重启时如果你在圈里你会死。

然后我们开始时间线，其实所有圈都存在上百面的时间了，营地是比较大的时空圈，十年一重启，卡尔的圈是三小时，麦克和卖枪的克里斯的圈应该是一星期，还有帐篷里的是5秒。

看第一遍的时候很多东西我也没看懂，第二遍的时候发现很多事情都是联系的。

先说主线，哥哥和弟弟是遭遇车祸，被营地里的那个公式哥救了，这应该是在十几年前，大概在十八九年前，这也是为什么哥哥说那个裁缝女应该40多岁了。

两人在营地里生活了八九年，裁缝女应该特别喜欢弟弟，应该是母子那种感情，这也是为什么两人睡在一起很安然，也没有啪啪。

猜测营地里大家都是不想生孩子或者不能生孩子的，这也是为什么哥哥会说这个营地的人都被割了。

哥哥住了这么久也发现营地不太对劲，所以他老是试图弄明白，而且营地没有首领，他想当这个领地的首领。

十年前，一次哥哥出去迷路了，走到了卡尔的小屋，哥哥和卡尔的对话说自己是十年前的贾斯汀，证明十年前他就来过，他第一次来这里还是个十几岁的愣头青，什么也不懂，卡尔跟他说时空圈，哥哥也不懂，所以卡尔为了救哥哥，骗他说营地里是邪教，他们马上要集体自杀了，你要救弟弟必须逃走，逃走前，你得帮我个忙，但是哥哥骗他说要回营地骗了他一次。

哥哥凭借着年轻的直觉带着弟弟走出了这片地区。

回到现实社会生活了十年。

开始的时候他招摇撞骗，有一次骗麦克入教。

这十年朝不保夕，饭都吃不饱，怪物把裁缝女某次循环中自己的录像寄给弟弟，弟弟当时小，感觉营地里很好，最起码能吃饱，不会像这十年老是挨饿。

然后两人回到营地，最开始的圈就是卡尔的圈，卡尔的圈很大，不光是小屋那一点，因为在路上看见卡尔好几回，大概是四回，每次都能看到卡尔的边界。

这时候的营地已经进行了一次循环，时间也是在接近下一次循环的时候，所以大家觉得哥哥和弟弟好像并没有走多久，就长大了。

电影正常进行，带着前文的解释很多东西都能看懂了，湖里住着一个怪物，怪物会在各个时空圈里观察这些圈里人，人是看不见的，比如打枪打到怪物身上，最后小屋录像有闪回。

其实拉绳子那个游戏拉的是真怪物，从画家女的画里也能看出来，这也为什么是挑战。

一旦成为圈里的一部分就出不了圈了，外面人是可以进来交易生活的，只要不死在里面。

圈里人其实有些已经在这里上百年了，估计互相都搞了很久，所以没有固定的cp，也不会在意谁跟谁，但弟弟和裁缝女应该是母子情，画家女的前男友可能是卖枪那个克里斯，麦克的老婆是珍妮佛，麦克为了给克里斯戒毒来到这，克里斯和卡尔是毒友，卡尔在山上有个拖车，就是哥哥弟弟最后见面的地方，卡尔是下山找克里斯的时候赶上圈重启，死在了那个圈里，留下一只鞋，哥哥开场的时候捡到的那只。

圈里的人或物是看不到圈外的，也无法出圈，圈外的人同样无法看到圈里的变化，好多这种镜头。

在圈边界有时会有镜面反应，比如吸毒后的两个月亮，开始哥哥在路中间看边界两侧，最后开车出边界都有这个反应。

关于结局，我认为哥哥弟弟最后成功跑出去了，首先，他两是圈外人，过圈不会像乌鸦一样死，也就不会就在圈里。

第二，营地的众人目送了他们，如果陷入圈里不会有不舍的镜头。

第三，关于油的对话，其实是扣开场的那几句格言，我觉得也是电影所想表达的，就是朋友之间很容易交心，反倒是亲人之间非要等到一个时机才会交流，劝大家多于亲人交流。

油是比喻，哥哥很爱弟弟，但在表面上看没爱，就好像油表显示没油，其实是很爱的，弟弟说表面上没有，其实是有的，要不连发动都发动不了，就是说弟弟已经懂了哥哥的这种爱，要是不爱也不会带他回来，最后哥哥很欣慰的说，你终于全明白了，这里没有陷入的意思，可能大家都觉得这里反转会比较好，但其实导演没想反转。