如果你正在犹豫要不要看，我可以告诉你：这部1933年的《大洪水》值得花上90分钟。水位一寸寸上涨，淹过教堂的长椅，淹过酒馆的吧台，而人们在水面上争夺的最后一点东西，不是食物，而是信任。它不是靠特技堆砌的灾难片，而是用缓慢逼近的恐慌感让人坐立不安——镜头始终盯着普通人的脸，看他们从假装镇定到彻底崩溃的瞬间。 适合对电影史感兴趣、想看看技术匮乏年代如何用镜头语言制造震撼的观众；也推荐给喜欢《卡萨布兰卡》前好莱坞硬朗叙事风格的人。 这种拍法让影片更像一部披着灾难外衣的社会写实片——它关心的不是“大场面”，而是文明崩塌后人性的赤裸呈现。如果你能接受黑白画面里的岁月痕迹，这部1933年的灾难片会给你一种纯朴但扎实的观影体验。

When talking about Louis XVI and his wife Marie Antoinette, what immediately comes to mind are lace, tall wigs, flamboyant clothes and colours, Versailles, or… the guillotine. Here, between these two extremes, exists a middle ground, a period of time seldom explored: the few months when the last king and queen of France were imprisoned, with their two young children, in a black castle on the outskirts of Paris, awaiting their executions. A brief and condensed period where, amidst violence and harassment, all masks fell off: those of two royals, as public and private figures; that of the old regime; that of a History that finally turned the page; and that of God who, from then on, was eclipsed by the shadows, leaving man entirely alone.

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