《巴尔的摩》的叙事像一条缓慢流淌的暗河，镜头经常安静地停在人物脸上，捕捉那些欲言又止的褶皱。 :D。汤姆-沃恩-劳勒的表演几乎不用台词，仅靠眼神和走路姿势就让人感受到他内心的挣扎。如果你喜欢《困在时间里的父亲》那种用生活细缝讲故事的风格，或者对爱尔兰方言和海雾弥漫的影像有偏好，这里会有你想要的质感。适合着迷于“过程而非结果”、愿意品读画面褶皱里政治与个人纠缠的影迷。汤姆-沃恩-劳勒的表演几乎完全靠沉默和小动作撑起，他低垂的眼皮和紧抿的嘴角比台词更能说明内心的拉扯。

　　The latest by powerhouse artist-filmmaker duo Christine Molloy and Joe Lawlor picks up a thread from their last film THE FUTURE TENSE, a soulful investigation of Ireland’s tumultuous history. Here, using the form of a heist movie, they tell the true story of Rose Dugdale (played by Imogen Poots), a young heiress who rebelled against her English aristocratic upbringing to volunteer with the Irish Republican Army. In 1974, Dugdale and her collaborators swiped 19 paintings—including Rubens, Goya, and Vermeer—from a private home, using these treasures as leverage for the liberation of four IRA prisoners. Lawlor and Molloy’s highly atmospheric thriller plunges us into the Troubles with heart-stopping intensity, and Poots is riveting as the revolutionary. Beneath her radical facade, we see her fragility and inner turmoil, as she wrestles with appreciation for the beautiful artifacts of a world she has set out to destroy, and the fear of the chaos she has unleashed.

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