　　Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career. 　　Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.) 　　As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played. 　　The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument). 　　Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

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“难以置信的事实”安德林妮·夏莉新作，浪漫其实就是，两个灵魂“臭味”相投

从来不缺少随波逐浪的男男女女，他们以醉生梦死回应世界的空洞，而奥德莉为什么如此迷人呢？或许因为她的虚无不来自某种伤痕，也不因虚无而纵欲，这是无头蝇和蜻蜓的分别。
作者为奥德莉设计了一套以重复为母题的音效系统，辅助营造影片整体的虚无感，首先是为餐桌上喋喋喋喋不不休休的父母问话，以及约书亚讲解汽车某个零件功能时台词的所做的回声效果，内容无关紧要，被强调的是说话人和奥德莉的关系：只要我喜欢/不喜欢你，你说什么那都不重要

New York kooky indie-moviemaker Hal Hartley’s feature debut, THE UNBELIEVABLE TRUTH tantalizes a somewhat morbid idea that can a reformed manslaughter-convicted ex-con gets a second chance in his hometown where the crime was perpetrated? Freshly out of prison, Josh (Burke) returns to Long Island where his felony has been disproportionately mythologized, he impresses auto-repair shop owner Vic Hugo (Cooke, enjoy some unorthodox outpourings that are rarely seen in a materia

太让人印象深刻的一部电影了，或许也因为此前从未看过如此气质的电影？在这部电影中似乎能非常清晰的意识到电影语言的具体应用方式。比较深刻的有那段无限循环的对话，那个给了三四次镜头然后果然马上就被打碎的花瓶，反复出现的各抒己见的交流场景，充满末日消极观念的女主，从电影开始就一直被问是不是神父的男主，有太多太多可以细究的点

(剧透预警！)
好怪好帅这片好可爱。
外表是古怪少女跟禁欲大叔，内里却是不愿被社会和大众规训，坚持自我的灵魂相投。
女主Audrey太让人喜欢。
她坚守的末日虚无观，本身就是一种对存在主义的寻找。
她也许脆弱，在父亲的贬低中，为了证明自己考上哈佛。但更多的是强大，考上是一回事，想不想去是另一回事，无人可左右我。即便他人对于她所在意的末日、炮弹皆嗤之以鼻，这个“古怪”少女却依旧遵从本心。
更不用说她如此美丽。晨起一幕堪称经典。日光犹如眼神，替我一寸一寸磋磨她的肌肤

“难以置信的事实”安德林妮·夏莉新作，浪漫其实就是，两个灵魂“臭味”相投
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