厄运

这个导演比较不走寻常路，通常这种悬疑性质很大的电影，导演都会回避特别清楚地回答观众疑问，他反而在各种访问、活动一一回答了大部分问题。

以下两个链接说得很清楚了：

//variety.com/2018/film/awards/hereditary-ari-aster-answers-burning-questions-1202841448/

And the fact the family is completely unaware adds to the terror. One way that I pitched the film when I was first taking it out was “it’s a story about a long-lived possession ritual told from the perspective of the sacrificial lamb.” Ultimately we are with the family in their ignorance of what’s really happening. But I also wanted to imbue the film with this sinister, more knowing perspective. Even though we are with the family in their ignorance, the movie itself knows exactly where the story is going. And everything is inevitable. Throughout the film, things are just sort of clicking into place and all those things are driving this family towards one end.

In an early scene, the subject of free will is discussed. Are you saying this family has no free will? Yeah, absolutely. I see the film as being very Greek in that sense. This is absolutely inevitable, the family has absolutely no agency.

There is nothing Annie can do to stop this from happening? No, I don’t think so. That’s where the dollhouses came in. Annie creates these miniature figures and dollhouses and they served as a perfect metaphor for the situation; they’re dolls in a dollhouse being manipulated by outside forces. Any control they try to seize is hopeless.

Is that why she thinks she can stop it by burning the Charlie’s sketchbook – the first time she tries, she catches fire — but the second time, her husband Steve catches fire? Exactly. Even that scene is meant to play as Annie’s big redemptive moment, she’s going to sacrifice herself for her son. It’s a beautiful gesture but part of the cruel logic of the film is it’s an empty gesture. Ultimately, it’s not her choice to make. She thinks there’s a design here and she can end things if she sacrifices herself. But there’s no design and there are no rules. There is a malicious logic at play.

Could it have been prevented if she hadn’t been tricked into casting the spell given to her by Joan? The thing is, that scene is ultimately a red herring, and it’s a piece of misdirection. It plays as a séance scene but really it’s a much darker conjuring and they need Annie to take part in it in order to bring it in the house and in order to further this ritual along. When she invites it in, she escalates things. But it would’ve happened anyway, we’re just seeing how it happened. We’re seeing one of the ways it could play out.

There’s a lot of talk about what a bad mother Annie’s mother was. Did she just have kids for the purpose of this ritual? That’s pretty much what is suggested. If you listen to Annie’s speech at the group therapy, there are a lot of keys in her monologue as to what came before this and how far back this goes.

Early on, Charlie cuts the head off a pigeon and makes a strange figurine out of it. Can you elaborate on that? I don’t want to be too obvious but we find later that Charlie has been building these figurines to populate a diorama she’s been building that serves as a shrine to Paimon. It also functions as a metaphor for what Paimon is doing to this family. If you look at the diorama you’ll see they’re headless figurines bowing to a pigeon-headed creature with a crown on its head, which is not far away from what we’re left with in the last scene of the film.

Annie talks about how her mother got “her hooks” into Charlie at an early age. Are we meant to think Charlie is in on it? Charlie is the first successful host for Paimon. It’s transferred from Charlie to Peter at the end.

Because Paimon wants a male body? Exactly.

Is there ever a Charlie or is she Paimon from the moment she’s born? From the moment she’s born. I mean, there’s a girl that was displaced, but she was displaced from the very beginning.

In an odd way, that makes me feel better. (Laughs) That’s nice. See, it’s a happy ending. But obviously, there’s a boy who’s horribly displaced by the end.

http://www.vulture.com/2018/06/explaining-the-end-of-hereditary.html

Is Paimon a real thing? He is! Well, real in the sense that if you believe in hell and the Devil, Paimon is an actual entity that people do worship. Across various sources, he is designated as “a great King,” “one of the chief demons,” and “one of the most significant Angelick Rulers.” He pledges intense fealty to Lucifer, and is often rendered riding atop a camel (as we see in the movie).

There are conflicting points of view on whether or not Paimon and the demon Azazel are the same. According to the Black Witch Coven, “He is one of the demonic princes overseeing the four cardinal directions, West being his domain,” which is why Joan (Ann Dowd) and her minions “looked to the Northwest” to summon him in the movie. According to the Joy of Satan Ministries, “Paimon gives the power to influence and control others,” and that seems to scan with how he operates in Hereditary. However, the Ministries also describe the hell king as “full of energy. Loud noises and bright lights tend to make him more active. He is very colorful and very friendly.” Maybe the “party naked” side of him just got left on the cutting-room floor, because that guy seems like a downer.

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What are the “rewards” Annie’s mom wrote to her about in that note? In the Invocations book that Annie pulls out of her mom’s box of things, a photo opposite the image of Paimon shows a person sitting atop a mound of treasure that says “Riches to the conjurer” in a caption beneath. When Joan speaks to Peter/Charlie at the end and crowns him, she asks Paimon to give her and the other followers “knowledge of all secret things, honor, wealth, and good familiars.” She also asks that he bind all men to them, as the worshippers have bound themselves to Paimon.

Those sound like “riches,” and what with a king of hell being resurrected, being recognized as one of his privileged followers will probably be a lot safer than, well, not. In a description of his abilities, Satan Ministries says Paimon “teaches the arts and sciences” in addition to providing “good familiars and gives one position and honor. He can reveal anything about the Earth and one’s mind.” At least some rulers recognize the necessity of science education!

So is Peter Charlie? Or is Peter Paimon? It’s likely that Charlie never knew she was imbued with the spirit of a king of hell, but as Annie says in her grief-counseling group, her mother got “her hooks” in the young girl from the time she was a baby. (Annie’s mom, Ellen, even insisted on feeding baby Charlie — and one of the miniatures depicts grandma offering the infant her exposed breast — which is probably the most unremarked upon insane thing that happens in Hereditary!) As we learn in the opening eulogy, Annie’s mom had “private rituals” and “private friends,” a lot of which probably revolved around putting Paimon into Charlie.

Clearly, though, the long game was to get Paimon into Peter, since Paimon desires a male host, and Charlie sure didn’t seem like she knew she was a preferred underling of the Morning Star! So Paimon was bound to Charlie, and when that little light flash dissolves into Peter’s limp body after he pitches himself out of the attic window at the end, that’s the spirit entering him. With the transfer complete, Joan seems like she’s ready to let Charlie (in Peter’s body) know about everything that’s been going on, and who she really is.

Remember, too, that Annie’s brother hung himself at the age of 16, leaving a note behind saying that his mother had been trying put people inside of him. Ellen failed to secure her son as a host, and she missed her first shot with Peter since Annie had excommunicated her, so she used Charlie as a temporary vessel until the ritual was able to be completed later on. As Aster told Vulture, “The film is about a long-lived possession ritual that is seen from the perspective of the sacrificial lambs.”

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With that in mind, you can think of the movie’s sinister events as being carried out by an invisible hand, of sorts. That sigil painted above grandma’s headless body in the attic? It’s the actual symbol of Paimon, and it was also carved in the utility pole that tore Charlie’s head off. The leafy bit that Annie brushed off her lip when she was drinking tea at Joan’s apartment? Probably a witches brew of some kind (or another red herring, because by now you’re paranoid!). Peter feeling his throat close up and taking the posture of Charlie’s decapitated body before ramming his head into a desk? His body was being primed for a spiritual takeover. Those scrapbook photos of Ellen wearing a white dress and a veil as she’s being showered with gold coins? That sure looks like a wedding ritual, once you see her framed portrait in the satanic tree house, which has a placard with “Queen Leigh” fixed to the top. Does that mean grandma was spiritually married to her granddaughter and therefore breastfed her husband-grandchild when she was an infant? It seems like it!

Did Annie do any of those weird things — decapitating her dead mom’s body, spying on Peter outside his window — or was it the Paimon cult? Aster told Vulture that, “The audience is supposed to suspect that it might be Annie (Toni Collette), but it is the cult of which Ann Dowd is a very significant part. But you are supposed to feel through the film that there are people on the periphery that are watching this family and are hovering just outside.” Therefore, Annie’s sleepwalking was not resulting in her exhuming bodies and cutting their heads off. It was a red herring! Aster laid a sort of bread crumb trail throughout the whole movie, tipping the audience off that the Grahams were always being watched by associates of Ellen and Joan: the man who smiled at Charlie at Ellen’s funeral, all those “new faces” who mourned her death, the woman waving at Charlie across the street from her school, the person breathing in the dark outside of Peter’s window — all of whom we probably saw naked in the tree house during the finale.

What was with that book setting people on fire? It seems like a safe bet that the book was bound to protect itself. The cult did demonstrate they had a pretty long reach when it came to influencing events, and they even stashed a whole headless body in the Graham’s attic when no one was looking. When Annie tried to destroy the book, it protected itself, but Annie was also essential to completing the possession ritual, so she couldn’t just burst into flames and die. We’ll call that a warning shot by the book.

But Steve (Gabriel Byrne)? He had to get out of the way, and the moment he died, Annie stopped being Annie and started being an agent of Paimon, much like when she channeled Charlie into her own body during the previous seance. When that ring of light flashes over her, that’s Paimon beaming into a new host, as Collette explained to Vulture, “Ari was standing to the side, and he let me watch this person be on fire for a while [laughs] and then he said, ‘Okay. Now, Paimon, the light, is going to enter you.’ We never talked about what that would ever look like or be like. I just did one take and that was it.” And that, ladies and gentlemen, is called acting.

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What about Annie’s sleepwalking, then? Go with us on this one. What if the sleepwalking was Annie’s subconscious way of fighting her mother and the ritual? She tried to set Peter and Charlie on fire once before, but snapped out of it, right? And then in the dream we see where she admits she wanted to abort Peter but her mom wouldn’t allow it — and so she tried to force a miscarriage — she screams at him, “I wasn’t trying to kill you! I was trying to protect you!” Somewhere in Annie’s subconscious, she must have known her children were in danger, and just as her brother had to kill himself to escape Ellen’s clutches when he was a teenager, Annie must have known deep down that as long as the kids were alive they were existentially threatened.

As Collette told Vulture, in that moment Annie is surfacing what’s in her subconscious, which “allows the audience to know that this is a kind of murky, not entirely understood, gray area about the safety of her children and the intention behind the creation of them — and how her mother was involved, right? So it’s still not entirely clear, but there is an indication of some concern there.” Annie realizes after it’s too late, though, that she part of that threat, and must die if she wants to protect her kids. But by that point the toothpaste is out of the tube, and it just isn’t going back in.

Are the decapitations part of Paimon-related lore? Not really. Aster added that element himself, and he’s not into explaining why. As he told Vulture, “I think it would be disingenuous for me to give any sort of intellectual answer. I feel like there are a lot of really good reasons and I like all of them, but uttering them kind of robs them of something. But I do like all the things that they might provoke in somebody.” As for Collette, she has formed her own theory about all the rolling heads. “We’re so attached to our bodies, we’re so attached to the brain and the mind. They’re like the control center, and that once you lose that metaphorically, you become nothing, and therefore you are able to give yourself over to this greater force?” Speculate away!

So why did he use Paimon? No special reason, really. Aster said to Vulture that he just didn’t want to deploy Lucifer again, and hey, that’s fair. If you need a more substantial explanation than that — just let it go. Sometimes creepy is enough.

大家好啊 我是Paimon 初次来到人间，很新奇 由于人生地不熟，我想好歹先找一个人问问情况（为了行走方便顺便占用一下身体） 没想到凭借我地狱魔王的尊贵身份以及了不起的各项能力 竟然收获了一票信徒 看来人类真是非常的单纯和可爱 信徒中首当其冲的就是一位叫做Ellen的女性

很可惜，由于我的设定，我只有在男性的身体里才能达到我恐怖如斯的巅峰实力 幸运的是，当Ellen得知我拥有如此多的能力之后 她与我签订了一份协议 挺长的，就不放出来了啊 总之呢，我给她点好处，她需要提供一副健壮的男性身体 当然中间的过程我并不干涉，听最后跪在我面前的信徒们说，状况还是挺惨烈的 感动到了

当然，入乡随俗，到了人间 据说一个秘密的行动组之间一定要有一个暗号 我思考了许久，觉得用弹舌非常不错——毕竟不引人注目用的人又少，况且不失风雅也不尴尬

有了协议之后 Ellen特别的积极，她本想将她的外孙Peter献祭于我 却因为她的神神叨叨一直被她的女儿Annie干涉，不让她接触到可爱的Peter 你是不是傻啊！我当时很生气地说，不能强抢，你就智取啊，从精神上先击溃对手

终于，机会来了，在Annie又生下了一个女儿Charlie之后，她说先让我躲藏在这幅娇小的女性身体之中伺机而发 我决定给她一个机会，于是我上了Charlie的身 也正在这时Ellen竟然老死了，人类可真是脆弱啊

为了得到Peter的身心（不要误会我不是那个意思），我要先将这个家庭分崩离析 Ellen的去世对这个家庭还是挺有打击的，特别是唤起了Annie内心的感情，这是件好事 如果我雪上加霜，隔不久就把Annie的女儿Charlie也解决了 要知道，处于崩溃边缘的人最好击破了 拿出笔记本好好记记，来自恶魔的战术安排不是每天都有的

于是在一个月黑风高的夜晚，我行动了——并且圆满成功 不仅Annie几近崩溃，连Peter也吓傻了，一箭双雕秒啊

接下来的这一步异常关键 据我了解崩溃的人无法面对家人，无人倾诉 这时候我安排的另外一个信徒琼上场了

我让她告诉了Annie她可以通灵，召唤出已逝之人的灵魂 在让Annie亲眼见证之后，再一并告诉Annie通灵的方法，并且要Annie在通灵的时候拉上全家 Annie一定会忍不住使用这个通灵法 这不，她很听话地还拉上了全家，表面上看起来通灵成功了，实际上这一整家已经通过这个仪式和我又签订了契约

我可真是个小机灵魔啊！！ 而签订时的媒介笔记本，也成为了与他们生死联结的道具

哎弄了半天终于要到关键的地方了 在我们恶魔界，什么信任，不存在的 在这个家变得支离破碎后，自然本就互相排斥的成员之间最后的信任也被我所吞噬 Annie竟然还想企图烧掉笔记本来终结这一切 年轻人你这个想法真危险，有本事你烧啊

烧掉倒好，趁你崩溃的时间先上一下你的身 去把你儿子Peter吓得跳窗

一切水到渠成 不禁放下手中的武器为自己鼓掌

终于，在各位忠实信徒的膜拜之下 我获得了这幅身体 这一路走来真是感慨万千啊 没想到这个厄运会“一惨惨一窝” 最后我想感谢一下各位支持和鼓励我的观众 如果你也有兴趣签点什么的话，可以与我联系 我会以弹舌的方式予以回应。 对了，有好学的小伙伴问 为什么每个人包括那只可怜的鸟都要把他们的头弄掉，是有什么特殊的含义和喜好吗 对啊，我喜欢，怎么着吧

对了因为我的名字paimon 还有一层含义：“叮叮当当”的声音 就是最后我接受新身体时候响起的那一阵铃铛声 你以为作法呢？别傻了那是在召唤我的名字 所以如果你听到了叮叮当当 记得要和我打招呼哦 等等，还记得我们之间的暗号吗？

从前有一个叫蕾娜的老女人，这个老女人心术不正，老是喜欢整些邪恶崇拜，这家伙使用加入邪教就送有名字的迎宾地毯忽悠了一群喜欢占小便宜的人一起搞邪恶崇拜，他们崇拜的是一个叫做派蒙的邪神，这是属于很厉害的那种邪神，终于有天瞎猫碰到死耗子，蕾娜参照着古书上的秘法，让教友们脱个精光一起俯拜着吟唱未知的咒语，这个地方就在自己家外面的小木屋，那夜风雨交加，偶尔还打个大响雷呢，还好没有警察蜀黍查房，不然估计判个集体淫乱罪，怕是要坐大牢，终于皇天不负有心人有心人，邪神派蒙竟然真的降临了，派蒙需要肉体容器，在教友的拥护下，老女人蕾娜穿着婚纱把自己献给了邪神，邪神估计是很嫌弃的，只是不好意思说出来，这只是暂时的，因为邪神需要一具肉身，这肉身需要雌雄同体，雄性躯体为容器，雌性灵魂为祭品，搞得好像倩女幽魂里姥姥那个模样，并且需要召唤者蕾娜家的血脉，毕竟派蒙是个挑剔的神。邪神派蒙被凡人召唤于现世，神是带着无尽的愤怒出现的，毕竟你一个凡人吃饱了把邪神叫出来，说不定邪神那会儿正在打盹呢，搁谁那谁都会生气，所以蕾娜选择了自己的丈夫作为祭品，生生饿死了自己的那个枕边人，最终邪神接受了这个残忍的祭品，原谅了蕾娜，蕾娜打算把自己的长子献给邪神，在献祭的过程中，这货竟然自杀了，神可不需要死人，毕竟神很挑剔，这下蕾娜可把邪神得罪了，不过蕾娜保证会把自己仅剩次女的后代献给邪神，家里死了人，警察蜀季来了蕾娜也不好交代，所以蕾娜就对外胡扯，说自己家的人全疯了，疯着疯着就自杀了，大家也都信了，那时候次女安妮也还小，自然也相信了，邪神派蒙就这么等啊等啊等的，终于有天安妮怀孕了，蕾娜很开心，邪神派蒙更是高兴，但是安妮却并不开心，一方面安妮还没有做好成为母亲的准备，另外一方面安妮的母性第七感预感得孩子生下来会有不幸的事情发生，安妮决心流产掉这个孩子，所以她在怀孕的时候偶尔就去篮球场扣个篮什么的，但是这可是邪神的资产，岂是你凡人可以毁掉的，所有无论安妮怎么折腾，孩子都没有流产，即使这样安妮的潜意识依旧觉得这个孩子是不幸的，所以安妮偶尔会梦游，其中一次梦游甚至想放火烧娃，另外一次梦游发生在梦里，那次梦里安妮对着彼得吐露出了想要流产掉他的潜意识想法，结果是老巫婆蕾娜搞了一个恶魔符文的挂坠送给安妮，这个挂坠实际上抑制住了安妮的潜意识暗示，所以后来安妮曾经歇斯底里的大叫自己不再梦游，不过梦里还是梦到了梦游……孩子最终出生了，取名彼得，彼得长的挺帅气的，唯一缺点就是好口大麻，既然已经有了男性成员，那么邪神为什么不附身彼得呢，因为彼得还是个小孩子，邪神需要一个成年男性，毕竟邪神是挑剔的，所以邪神和蕾娜只有等待彼得长大，第七感安妮总是觉得蕾娜不怀好意，所以不让蕾娜接触彼得，后来安妮喜得次女，次女取名查莉，安妮觉得不让祖孙团聚似乎不大好，脸上也挂不住，所以偶尔让蕾娜照顾安妮，安妮是个嘴闲不住的女孩，偶尔喜欢弹弹舌头，蕾娜照顾查莉的时候，偶尔还给查莉喂奶，查莉就成了一个吸食过被邪神附身的母乳的女孩，蕾娜把查莉培养了一个不错的祭品，长大以后安妮就成了一个喜欢偶尔玩玩死鸟头什么的孤僻女孩，并且这个女孩有果仁过敏症，终于蕾娜这个老巫婆熬不住挂掉了，不过一盘大棋已经布好了，就等着安妮一家人踏入陷阱，葬礼上安妮说自己不大了解母亲蕾娜，因为蕾娜从来都不把家人当做亲人，家人对她来说不过是行尸走肉般的祭品，邪神是她的最爱，裸体教友是她的好朋友，既然家人是祭品，自然也就不会在意，葬礼上安妮脖子上挂着那个符文挂坠，葬礼的那夜，安妮在女儿床头看到了字母satony，实际上这是电影的一个小标题，（安妮是个喜欢做精细真实比例模型的女人，导演很聪明，电影开头即使用模型开局，每次模型出现都对电影剧情线有所暗示，既然我在这里瞎解析电影，那么每次模型出现也就不单独拿出来分析了）葬礼当晚，安妮看到蕾娜的身影，大概蕾娜头七提前还魂吧，第二天在学校课间查莉捡死鸽子的时候，看到有个女人朝她招手，其实这个时候已经是邪神派蒙的教友对查莉使用了降头之术，这个降头术的发起特征是会看到奇异的光芒闪烁，如果看到这个场景也就没多久可以活了，查莉追随着光芒看到已故的蕾娜坐在火圈之中，查莉非但没有被此情此景吓到，反而愉悦的弹了一下舌头，真是刺激又过瘾，邪神派蒙第一步计划是要抽走查莉的灵魂，所以它安排教友在路边柱子上刻下了一个符文咒语，查莉只要路过这里无论如何都会失去性命，并且是掉其颅，抽其魂，果然当晚彼得驾车领着查莉去参加派对，为什么安妮非要彼得领着查莉去参加假派队呢？葬礼那夜查莉曾问安妮，如果安妮死了那么谁来照顾自己呢，这个小女孩从小被邪神染指，生性孤僻，总是一个人孤零零，安妮看在眼里觉得挺可怜的，所以让彼得带着查莉去派队认识几个朋友，后来彼得把查莉的死归算在安妮身上，安妮痛哭着欲言又止，母爱之心又岂是几句话可以解释清楚的？去了派对的彼得就只顾着自己爽大麻，结果查莉误食果仁蛋糕过敏，彼得超速带着查莉去医院抢救，结果避让死鹿，查莉脑袋撞柱子上，咔擦一声没了，死鹿是教友设计好的陷阱，我也不知道那些人是怎么掌握好时间放置死鹿的，电影总是不交代这些逻辑关系，第二天晚上得知死讯的安妮哭的死去活来，安妮确实是个好母亲，邪神派蒙已经拿到了查莉的魂魄，这个时候邪神派蒙还做了另外一个事情，那晚上彼得抽大麻的时候，另外一个教友正在暗处抽着大麻观察着彼得一家子，也就是这个时候，那个神秘的教友乘着彼得家里没人的时候把蕾娜的尸体挖了出来，砍了头颅，尸体藏到了彼得家阁楼里。为什么不是女主梦游挖的尸体呢，因为后来女主强制解释自己是去看电影了，片里女主其实是去参加逝者心理治疗集会，确实没去挖尸体。电影出现zazas这个词，电影第二个小标题，邪神派蒙开始第二步计划，这个计划需要安妮一家亲自举行一次召唤邪神的契约仪式，毕竟上次搞仪式的蕾娜已经玩完了，这步计划出现了琼这个角色，这货心狠手辣，每天在暗处观察安妮一家，悄悄把邪恶崇拜的洗脑书朝着安妮家门缝塞，这招不好使，琼又假装是逝者治疗会的一员接触安妮，琼把自己死了儿子和孙子的故事讲给安妮听，把安妮忽悠的一把鼻涕一把泪，琼死了亲人这个故事可能是真的，也可能是假的，无法推断，总之琼成功把安妮骗到自己家里，并且在安妮面前施展了一次唤回亲人的仪式，其实这个仪式是琼搞得一个把戏，唤出来的其实不是孙子而是邪神，在仪式开始的时候，安妮曾经在喝的水里发现异物，其实这是琼给安妮下的药，这个药可能是听话水一类的迷药，也有可能是古代萨满调制的一种药剂，总之安妮喝了这水以后，性格大变，成一个歇斯底里的女人，吃饭时候和家人吵架了，亲手做的模型也一手毁掉，老公也是不理不睬，总之安妮失控了，上房揭瓦是迟早的事情。这一段里出现的电影小标题在安娜制作的模型上，字母似乎是gtjny，看不大清楚。同样的时间线里出现了彼得吸食大麻产生妹妹脖子过敏喘不过气的感觉，这里有两层意思，一是查莉愤怒的亡魂让彼得体验一次痛苦的感觉，痛苦的彼得让朋友拉住自己的手，缓解痛苦，其实当时坐在后排的查莉最需要哥哥在身旁的照顾，因为身旁没人，查莉才会自己打来窗子，才会咔擦人首分离，第二层意思是没有查莉亡魂，而是彼得内心愧疚不堪，加上大麻至幻，所以有了查莉感同身受的体验。回到家的安妮半夜里拉着家人点亮蜡烛开始通灵仪式，此时最大的仪式开始，为什么家人都要在场仪式才可以进行？因为仪式涉及所有家庭成员，为什么阁楼里有蕾娜的无头尸体，因为安妮念叨咒语的时候，邪神的灵魂脱离了蕾娜的尸体，安妮念完咒语的时候似乎邪神被附身，大叫妈妈，其实这个时候就是邪神从蕾娜尸体转换到安妮身上的过程，安妮有没有被附身？其实并没有被完全附身，因为需要祭品！仪式没有结束，才开始，这时候电影再次出现小标题LIFTOACH PANDEMONIUM。彼得在学校看到降头的奇异光芒，因为琼早已经早家里布阵给彼得下了降头，彼得开始出现各种幻觉，就和查莉看到蕾娜的幻觉类似的巫术效果，最后琼甚至到了学校驱逐彼得灵魂诅咒彼得，让彼得滚儿蛋。另外一边安妮发现了琼的身份，她发现查莉笔记本里突然出现爸爸的画像发现事情不妙，这个画像双眼被划掉了，安妮悄悄烧毁笔记本，哪不知笔记本有防毁程序，烧着烧着安妮自己反而着火了，安妮以为烧了笔记本一切可以结束，安娜决心牺牲自我，烧掉笔记本，其实这么做启动了仪式的第二个部分，笔记本上一页又一页的画着彼得的画像，烧了笔记本其实是没有意义的，因为诅咒已经开始，烧了笔记本的同时点燃了倒霉老爸，倒霉老爸被烧死，这么做间接的给邪神献出了祭品，如同当初蕾娜饿死老公献出祭品如出一辙，这时候邪神成功附身了安妮，为什么邪神不直接附身彼得？因为仪式不完整，这个仪式并非附身那么简单，而是降临，前两次仪式仅仅只是召唤和附身，被附身的安妮学会了蜘蛛侠的武功，夜里惊醒的彼得被吓坏了，能爬墙的安妮把彼得逼上了阁楼，阁楼里蕾娜的尸体已经消失不见，只有一个人形痕迹以及围绕着的蜡烛，在痕迹中间放着彼得被扣掉双眼的照片，这里有继承和取而代之的含义，同时亦是邪恶诅咒，这时候裸体男人出现，就和书里记载的一样，邪魔降世需要有裸男的见证，这里又是仪式的一部分，彼得转过头发现安妮正在拿绳子吱吱吱的割掉自己头颅，其实这里安妮是献出自己的生命当做祭品，彼得夺窗而逃，安妮头颅落地的时候，邪神离开安娜身体，仪式临近结束，邪神把查莉的灵魂放进彼得的身体，彼得走上阁楼，阁楼的正中摆放着仪式用的简易神像，神像的头部插着的是查莉破损的头颅，教友们把皇冠卫冕于彼得，此时跪拜着的有安妮和蕾娜的无头尸体，为什么没有悲惨丈夫以及查莉，因为此二人未被邪神附身过，戴上皇冠的彼得不再是彼得，它是雌雄同体的邪神派蒙，自此八大魔王邪神派蒙降临尘世，这次不再只是附身，邪神将征服世间，自此仪式结束，电影完结。（看着戴上皇冠的彼得，我忍不住说了一句：“孩子，皇权没有永恒！”）

从前希腊有个英雄名叫赫拉克勒斯 ，这家伙身高三米多，赫拉克勒斯还是婴儿的时候就可以双手擒蛇，长大更是爆打巨狮，手撕九头怪蛇，完成了12项不可能完成的任务，有次征战回家的路上，赫拉克斯已经察觉到了死亡的征兆，但是赫拉克勒斯毫不畏惧，他拍了拍身上雄狮战衣的灰尘，戴上征战多年的拳击手套，荣耀的接受了死亡，赫拉克勒斯的死亡让其成为悲剧主义色彩的史诗英雄，他的悲剧在于他自己清楚无法躲避死亡的宿命，他选择了勇敢面对，也许他可以逃避，但那只是另外一个悲剧，他是值得尊重的爷们（电影里描述赫拉克斯就是这样死的，其实赫拉克勒斯是被奎爷弄死的），《遗传厄运》里的家庭同样面对着无法逃避的宿命，更悲剧的是他们大部分时间里根本没有察觉到死亡的降临，唯一有所觉悟的安妮误打误撞让悲剧降临的更快，在文中我多次称呼蕾娜为老巫婆，对于这个角色我是带着批判主义的（电影里出现过批判主意这个词，这条线索究竟批判的是谁?是什么也不知道如螳臂挡车的安妮一家？还是老巫婆蕾娜？我倾向于是批判蕾娜），蕾娜这个角色真的很邪恶，她是悲剧的创造者，她只顾自己一时的变态崇拜就压上了全家的幸福，这样的人是不值得原谅的，如果把电影的主题放进现实里，遗传的厄运是主角们无法逃避的宿命，可是宿命无法阻止安妮活着的时候做自己喜欢的模型，无法阻止父亲给家人做美味的晚餐，无法阻止彼得和喜欢的人在一起嗨大麻，更无法阻止查莉吃巧克力蛋糕，死亡是每个凡人无法逃避的宿命，死亡这件事情嘛，咬一咬牙，忍一下子，心脏一停，脚一蹬，也就成功死掉了，但是活着，活着的时候有大把的时间，没有理由不把这些时间浪费在快乐上，安妮一家就亏大发了，如若查莉死后，安妮一家选择环游世界，也许他们能死的更快乐……（字母小标题是电影的分层结构，本人英语不大好，所以一时没有解开其中寓意。）

谢谢你耐心看完我的解析！

放眼全部电影类型，恐怖电影很可能是活力最为旺盛的一支了——这不仅体现在能够以低廉成本来创新和试错，从而创造新的恐怖流派（如乔治·A·罗梅罗的“活死人”，山姆·雷米的“鬼玩人”，甚至是更新潮一些的《鬼影实录》）。而作为流行文化的重要一环，它也在不同程度上，捕捉和反映了当时观众的审美情趣。

恐怖电影的时代特征，不仅取决于电影技法的发展，也取决于流行文化的趋势。70年代前后，伴随着《罗斯玛丽的婴儿》《天魔》《驱魔人》《柳条人》《鬼哭神嚎》，甚至是《闪灵》的出现，恐怖片开始从低俗边角料走入主流视野，并获得重要的商业成功。我们看到，恐怖片的主题，从上个时代的怪物（《活死人之夜》）和变态杀手（《惊魂记》），逐渐转向了超自然力量和凶鬼恶灵。在约翰·卡朋特用血浆和特效打开新时代的下一扇大门之前，许多经典恐怖片，藉由宗教和邪教的外壳，去描绘了那些不是通过视觉让你恶心反胃，而是通过气氛和压迫力，令人真正感到坐立不安的邪恶本质。

换言之，70年代的恐怖片，经历了一次从已知的恐怖，到未知的恐怖的转换。

而风头正盛，极富迷影精神的独立制片和发行公司A24，在近年持续推出的一批恐怖电影中，我们也可以从中一瞥，这种富有时代感的古典魅力究竟何在。与表面复古，实则依靠突发惊吓Jump Scare的温子仁《潜伏》系不同，A24一直在不遗余力地试图复兴这一类恐怖电影，买下的片子几乎有着一个共同的特点，那就是从4、50年前的某个时刻开始挖掘和重构素材。

诚然，这些精心制作的电影，在坊间口碑与票房表现之间有着极大的落差。不能否认的是，和《潜伏》那样更讨好当代观众的电影相比，这些70年代恐怖电影的当下投射，与观众之间已经拉开了距离。这些“复刻”电影不能算是抱着创新的思路来的，但也绝不是落后和守旧的代表。

而《遗传厄运》，就是A24的最新尝试。

阿里·阿斯特可能是首次担任编剧/导演，但他显然是一位天生的恐怖大师。

如果把视野缩小，我们就会发现《遗传厄运》似乎受到了各种经典恐怖流派的启发。但《遗传厄运》中不仅能看到上述的《罗斯玛丽的婴儿》《驱魔人》《鬼哭神嚎》的影子（尤其是《罗斯玛丽的婴儿》），还能看到典型的家庭心理抓马：在血脉诅咒的折磨下，情感破裂功能失常的家庭逐渐走向无法形容的悲剧性失控。在情感暴力的鞭笞下，《遗传厄运》以自己的方式展现了一种另类的血腥和超现实主义的恐怖情景：一个拒绝真正解决问题的畸形家庭，在富有库布里克特色的精致镜头下，展现出了手术刀一般的精准痛感。

这种“自己的方式”，是阿里·阿斯特让本片找到新鲜感的重要途径。整部电影中，我们能看到非常多的经典熟悉元素——异教符号的运用，蜡烛和虫子，幻觉和超自然力量——在叙事的阴影中，潜伏着令人不寒而栗的凶鬼恶灵。但是阿里·阿斯特冒了一个非常巨大的风险：把这一切放在一个叙事缓慢的故事中。在电影的前一小时里几乎什么都没有发生，只有崩溃边缘的畸形日常——这也是导致大量观众失去耐性，给出差评的关键原因——而在后半小时中，积攒的不安全感集中获得了持久而又强效的释放，从生理到心理暴力，高潮段落接连不断层层递进，毫无喘息的机会。当观众能够坐得住的时候，这一做法有着非常震撼的效果。

《遗传厄运》很可能是那些最不应该剧透的（恐怖）电影之一，因为如果这样做了，不仅会剥夺他人的观影体验，也失去了对这样一个毛骨悚然的故事的探究：这究竟是在叙事空间里真实发生的事实，还是由于角色的遗传精神疾病，为观众带来的又一场幻觉。

现今许多好莱坞的恐怖电影，都过于以来突发惊吓，反而在艺术水平上退回到了更加低级的位置，也无法在影片以外引起真正的讨论。尽管不受主流观众欢迎，但《遗传厄运》恰恰是那种与众不同的恐怖电影：毫不忌惮对理性思维展开攻击，打乱观众已经固结的思维和语言结构，最终的目标，就是让他们重新回忆起，对未知强大力量的原始恐惧。

虽然《遗传厄运》在电影中段略显薄弱，但如果能够真正被其艺术设计和电影语言所吸引的话，还是很能被其抓住兴趣的。就这一角度而言，最适合本片的平台或许不是受众面更广的大银幕，而是定位更为成熟和精准的电视和流媒体平台。

这不是一部完美的电影，但很容易成为今年最好的恐怖片之一。

《遗传厄运》在圣丹斯电影节上映后，艳惊四座，烂番茄新鲜度100%高开。虽然是导演的长片处女座，但影片丝毫没有小成本独立电影的廉价之感，不卖弄血浆，也不主打一般恐怖片中常见的一惊一乍的鬼怪惊吓（也就是所谓的“Jump Scare”），而是依靠扎实稳健的叙事，教科书级别的镜头语言，巧妙的构图光影，惊艳的恐怖细节处理和演员出色的演绎，来讲述一个被操控的家庭命中注定的悲剧。

电影由一场诡异的葬礼拉开帷幕。随着外婆的离世，母亲安妮时常看到外婆的鬼魂在屋中游荡，女儿查莉的行为也越发的诡异。紧接着一场突如其来的车祸让查莉以非常极端恐怖的方式在家人面前惨死，儿子因为深深的自责而面临精神崩溃。骤然将至冰点的家庭关系，让母亲的心理承受力被逼到了极限，精神分裂、梦游症、自杀，关于这个家族中的一个个厄运浮出水面，揭示了这个家庭正在慢慢被恶魔侵蚀，逐步崩塌。

随着恶魔教徒的出现，我们得知安妮一家并不是单纯的精神病，而是有计划的诅咒。这份诅咒来源于外婆领导的一个邪教组织，要献祭整个家族来复活地狱中的某个恶魔——派蒙。她在给安妮的信件中写道："在一切的终点，你会明白所有的损失都值得，我们的牺牲比起我们得到的奖励来说算不上什么。"

派蒙神(Paymon)，所罗门七十二柱魔神中位列第九位的魔神，是地狱八大神灵之一，掌管西方，是Lucifer最忠实的信徒，他拥有女性的面容和男性的身躯，骑着单峰骆驼，头戴皇冠，对艺术科学文化有着极高的造诣，全身散发着神秘的、高贵的帝王之气。

冥冥之中的血缘关系让母亲继承了外婆的一部分邪教人格，而在邪教人格的另一面，正常人格的她努力维系自己的家庭，不让自己的母亲靠近儿子，却忽视了女儿，致使查莉成为了派蒙的寄宿对象。然而邪教依然觊觎彼得的男性躯干，为了让派蒙顺利附身彼得，他们计划了一场意外，让不可磨灭的创伤和心理阴影击垮这个家庭最后的防线。

熬过了电影前半段看似缓慢冗长实则精细铺陈的剧情，影片的后半段，通灵、招魂、附体、祭祀等元素一一登场，生猛的情节反复交叠。

当母亲试图烧毁召唤恶魔的手绘本时，却发现自己也跟着烧了起来，她哀求丈夫帮助自己完成这一行为，试图破解血缘关系的诅咒，却因此让丈夫瞬间被烧死。此时的她才终于明白，这个家庭中的一切都逃不出派蒙与自己母亲的契约，万般恐惧之下的她毫无招架之力，仅剩的信念也灰飞烟灭，被邪教人格完全的占据了。

于是，剧情陡然一转，受害者母亲成为了最大的邪恶力量，影片也进入了高潮和尾声。最后，教徒们崇拜的魔王“派蒙”成功降临，电影以一个bad ending结束。

《遗传厄运》贯彻了镜头是观众眼睛的理念，大量长镜头的使用，摄像机缓缓推拉的运动模式和令人心底发毛的转镜，强化了观众的不安，形成到位的恐怖氛围营造。

为了配合这种以慢取胜的沉浸式氛围营造，影片以连贯的顺时线性叙述方式，用模型屋场景还原等方式巧妙地将接近真相的线索一一给出，每一次信息的交代都自然而然的点到为止，既让影片始终笼罩在神秘感之中，又激发观众进一步探索的欲望。同时，影片中精心设置了多处令人细思恐极的细节、隐喻和伏笔，保证了诡异阴森的整体基调。

影片开篇对小树屋也就是附身仪式的地方给了全景特写，随后摄像机缓缓回拉，室内情景出现在画面中，随着镜头不断推进，直接将模型玩具屋无缝过渡成了真实的场景，预示着这个家庭被操控的命运。

之后无论是多次出现的模型屋和真实场景互相渐变的长镜头，还是房屋外景白天黑夜的快速切换，都营造了一种怪异的效果，让人无法分辨这些场景究竟是现实世界还是微缩模型。

母亲擅长手工模型的工艺设计，外婆的手织地毯，以及查莉喜欢DIY手工玩具，颇具艺术造诣的家族天赋一脉相承，这与派蒙擅长艺术的背景不谋而合，更像是恶魔诅咒这个家族的印记。

悬在高空的小树屋也成为又一个令人提心吊胆的意象。当镜头掠过夜晚卧室的窗户，兀自透射出的瘆人的红光，足以进入我们最遥远的噩梦。

（布景似乎借鉴了拉斯·冯·提尔的《反基督者》）

除了影片的结尾部分，恶魔或超自然力量始终未露真身，这种少即是多的处理方式类似于《异形》系列，即真正的恐惧永远在看不见的神秘暗处，隐而不露。

当然，氛围的营造离不开光影的运用，影片中光影的运用也是教科书级别的。主次分明的打光，恰到好处的冷暖光搭配，都无疑增加了恐怖感。

（这里总感觉小女孩的头要突然转过来）

影片的最后，在众教徒虔诚的迎接仪式上，魔王派蒙成功降临，画面定格在三角形的树屋里面，与片中反复出现的三角形神秘符号形成关联，同时这个画面也像极了一个微缩模型的房间，与影片开头呼应，强调了故事的寓言性。

《遗传厄运》以古老神秘学为背景，讲述一个以血缘诅咒为纽带的家族悲剧，从剧作层面上来说不算惊艳。但导演出色的场面调度和完备的文本结构，远比惊悚场面更值得深挖。延续的家族厄运，最亲近的家人却是恶魔的傀儡，这种无处可逃的无力感源自现实生活的恐惧，比超自然的怪力乱神更令人胆寒。

（母亲的形象真的完全是按《闪灵》的路子来的啊）

烂番茄和豆瓣上都是超高评价，带着极高的期待去看，结果有点失望。。。坐标西雅图，影厅基本上满座，结果一个恐怖悬疑电影，老美们看得集体笑场多次。。。女主的出演有点用力过猛，尤其是烧女儿画本的那一段。。。女儿的相貌和行为都很诡异，儿子呆呆的，一家人就爸爸看着还是个正常人。。。全片看完多少觉得有点故弄玄虚，从头到尾都在等那个高潮，揭示那种种铺垫，结果片子都结束了也没等到那个点。。。很多好片子都有一个开放式的的结尾，但那要结合一个够有说服力的剧情，如果情节不管严谨，并不觉得开放到难懂的片子就是好片子。。。看了一下剧透和影评，对剧情还是有一些不理解的地方。。。

1. 有人说Annie知道外婆是有问题的，还曾为了保护Peter不成为Paimon的宿主想办法流产，还把Charlie交给外婆让Paimon附身，那么她应该知道Charlie在某种程度上是危险的，Charlie扭断鸟头也证实了这一点，那么Annie为什么非要让Charlie跟Peter去那个party，而且是在Charlie不下去，Peter不想Charlie去的情况下非要逼她去？

2. 有人说Charlie的死是邪教精心策划的，但事实上Charlie是因为对蛋糕里的坚果过敏，Peter急着开车去医院被突然出现的鹿吓到，Charlie又在碰巧在那个电线杆处打开车窗把身体伸出车窗外，这些看上去都是非常随机的情况，邪教教徒如何能策划这一系列的巧合？

3. 那么在Charlie出意外的时候Paimon在她体内到底有没有意识？如果有，杀死Charlie对他有什么好处？这样在他能附上Peter之前就等于无身可附了，这对他一点好处都没有，那么他杀死Charlie的诉求是什么？

4. Annie的哥哥自杀身亡，如果是哥哥的灵魂抗拒paimon附体，那么为什么Paimon不干脆就直接在哥哥灵魂因为死亡而消失的时候附在他身上而费劲周折弄出后面这一出出戏？

5. 有人说Peter自杀后Paimon得以最终附身，这又说不通了，因为在Annie哥哥的案例上自杀身亡的身体并没有被用来附身。

6. 另外Peter其实是被吓傻了慌不择路从窗户坠下，并不是自杀

7. Peter最终被附身的时候是否还活着？如果活着，那就说明paimon其实是可以随时附身，干嘛要折腾一大圈？如果已经死了，为什么他当时又没有附在Annie自杀死去的哥哥身上？反正只是要一个body

8. Annie和爸爸到底是怎么死的？

9. 外婆的尸体是谁弄到阁楼上去的？