剧情介绍
我叫 N. K.，人们都称呼我简称N.。我是谁？就好像“Nemo”的首字母，或者是“航行者（navigator）”或“讲述者（narrator）”，还有邪恶的“拿破仑”（Napoleon）。我住的地方，面向沙滩，更远点的地方是港口，是个观察的好据点。我已经掷出了骰子，凡事皆有因果，即使是文学和影像也不例外。
本片作为导演阿兰·罗布-格里耶拍摄于1972年的《伊甸园及其后》的另一剪辑版本在FR3播出，是关于一个剧本创作者 在思考文本时引发的可能性。 Long before there was any notion of "remix culture," famed French writer Alain Robbe-Grillet created this radical re-imagining of his own feature EDEN AND AFTER (which no doubt to most viewers had already been quite radical enough). In the 1970 original, perverse games amongst student types at a Mondrian-inspired cafe are kicked up a notch when a mysterious older stranger (Pierre Zimmer) appears to offer a hallucinatory "fear powder." A young woman (Catherine Jourdan) who ingests it finds herself trapped in a bizarro world of sex, violence and surrealism, first at a maze-like factory, then in Tunisia where youths are subjected to S&M tortures in striking all-white settings. This enigmatic narrative and its outré content are pushed several degrees closer to total madness in N. TOOK THE DICE, which scrambles an already ambiguous chronology to the point of freeform collage. A voiceover narrator provides the only semblance of logic in a mash-up that incorporates not just footage from EDEN...
本片作为导演阿兰·罗布-格里耶拍摄于1972年的《伊甸园及其后》的另一剪辑版本在FR3播出，是关于一个剧本创作者 在思考文本时引发的可能性。 Long before there was any notion of "remix culture," famed French writer Alain Robbe-Grillet created this radical re-imagining of his own feature EDEN AND AFTER (which no doubt to most viewers had already been quite radical enough). In the 1970 original, perverse games amongst student types at a Mondrian-inspired cafe are kicked up a notch when a mysterious older stranger (Pierre Zimmer) appears to offer a hallucinatory "fear powder." A young woman (Catherine Jourdan) who ingests it finds herself trapped in a bizarro world of sex, violence and surrealism, first at a maze-like factory, then in Tunisia where youths are subjected to S&M tortures in striking all-white settings. This enigmatic narrative and its outré content are pushed several degrees closer to total madness in N. TOOK THE DICE, which scrambles an already ambiguous chronology to the point of freeform collage. A voiceover narrator provides the only semblance of logic in a mash-up that incorporates not just footage from EDEN...
如果不是现有素材重塑，而是单独地演绎这场思考，应该会好很多。
4.0。
对这类片子不要去欣赏而要去感受
用剩下的素材又剪出一部，作为伊甸园的元电影。鸭肉卷饼，鸭架煮汤，格里耶真会过日子。
凯撒大帝的名言"骰子已经掷出"，化入这支离破碎的情色断章。狂野的游戏往往弥漫着金戈铁马的氛围，孤注一掷后是驷马难追的惶恐。庄生化蝶，蝶儿对镜成双再成双，以级数方式构成了这块随意扭动的魔方，即是格里耶对此在的剖解。
ʕ•̫͡•ʕ*̫͡*ʕ•͓͡•ʔ-̫͡-ʕ•̫͡•ʔ*̫͡*ʔ-̫͡-ʔ，打卡。
画面干净，摄影赞..当然齐逼小衬衫也很赞
与[伊甸园]套拍的，共用部分情节和场景的另一个叙事版本，格里耶的实验并未做得那么彻底（比如完全使用骰子的随机性来建构叙事），也不像片名所暗示的那样来自[伊甸园]片名字幕的完全重排，而是引入了大量于突尼斯拍摄的套拍场景。作为电视电影倒具备极为充分的媒介自反尝试，新故事可以成立。
t3d15a0a94 t35264dd86 Rar Password: http://www.douban.com/group/subtitle/ 字幕：http://shooter.cn/xml/sub/167/167056.xml
难看。
连同之前的《伊甸园及其后》，格里耶创造了双重褶子的假象，从这种创造行为本身观之，手段尚欠火候。彼世存在的意义不在于其数量多寡，此在终逃不脱与此世的照面。
在同一地方重新经过 还有可憋见的脸庞 回归至其空空皮囊。城市回归无足轻重 风景回归单调乏味 ----- 所以 这只是个游戏 究竟谁在玩？我把骰子放在桌子上
《伊甸园及其后》的另一剪辑版本
我觉得我没看懂 或者这片子也不是为了让我看懂 只是格里耶自己的一出头脑风暴
寫作（創作）的零度。