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维基百科，自由的百科全书
Children of Men
基本资料
导演艾方索·柯朗
监制
剧本
原著The Children of Men（英语：The Children of Men）
P·D·詹姆斯作品
主演
配乐约翰·塔文纳
摄影艾曼纽尔·卢贝兹基
剪辑
片长109 minutes[1]
产地
  • United Kingdom
  • United States
  • Japan[2]
语言English
上映及发行
上映日期
  • 2006年9月3日 (2006-09-03)（第63届威尼斯国际电影节）
  • 2006年9月22日 (2006-09-22)（United Kingdom）
  • 2006年11月18日 (2006-11-18)（Japan）
  • 2006年12月25日 (2006-12-25)（United States）
发行商
预算$76 million[3]
票房$70.5 million[3]

Children of Men is a 2006 dystopian（英语：Utopian and dystopian fiction） 動作片[4][5][6][7] directed and co-written by 艾方索·柯朗. The screenplay, based on P·D·詹姆斯' 1992 novel The Children of Men（英语：The Children of Men）, was credited to five writers, with 克萊夫·歐文 making uncredited contributions. The film is set in 2027 when two decades of human 不孕 have left society on the brink of collapse. 尋求庇護者s seek sanctuary in the United Kingdom, where they are subjected to detention and deportation by the government. Owen plays civil servant Theo Faron, who tries to help refugee Kee (Clare-Hope Ashitey（英语：Clare-Hope Ashitey）) escape the chaos. Children of Men also stars 茱莉安·摩爾, 切瓦特·艾乔福, Pam Ferris（英语：Pam Ferris）, 查理·杭南, and 米高·肯恩.

The film was released by 环球影业 on 22 September 2006, in the UK and on 25 December in the US. Despite the limited release and lack of any clear marketing strategy during awards season by the film's distributor,[8][9][10] Children of Men received critical acclaim and was recognised for its achievements in screenwriting, cinematography, art direction, and innovative 长镜头 action sequences. It was nominated for three 第79届奥斯卡金像奖: 奧斯卡最佳改編劇本獎, 奧斯卡最佳攝影獎, and 奥斯卡最佳影片剪辑奖. It was also nominated for three BAFTA Awards（英语：60th British Academy Film Awards）, winning Best Cinematography（英语：BAFTA Award for Best Cinematography） and Best Production Design（英语：BAFTA Award for Best Production Design）, and for three 土星獎, winning 土星獎最佳科幻電影. In 2016, it was voted 13th among 100 films considered the 英國廣播公司21世紀百大電影 by 117 film critics from around the world.

劇情

2027年，人類已經有18年完全沒有新生兒誕生，社會普遍陷入絕望狀態，各國緊閉門戶。本片的場景設定在英國，英國嚴格取締非法移民，並與革命份子「費雪斯」對抗。帝歐是英國的某位官員，某天他在路上被「費雪斯」綁架。他的前妻朱莉安是費雪斯的現任領導者，在她的委託下，帝歐要陪同一名非法女移民姬穿過邊境。然而在路途中，眾人在車上被暴徒襲擊，朱莉安身亡。帝歐、姬和兩名「費雪斯」成員路克及米里亞姆抵達坎特伯雷的避難所。姬讓席歐知曉，她懷有八個月的身孕，腹中胎兒孩子無比珍貴，可說是人類的希望。

朱莉安計畫把姬送到菁英科學家組成的人類專題小組，為此姬必須搭上接駁船「明日號」。剩餘的「費雪斯」成員希望讓姬在他們的監護下生產，上船的事幾個月後再說。但帝歐偷聽到「費雪斯」成員想把姬占為己有，朱莉安之死是他們所策畫，於是帶著姬和米里亞姆逃出。三人在帝歐好友賈斯伯的家暫居，度過閒適的一天。賈斯伯告訴姬，帝歐和朱莉安曾有過個兒子迪倫，可惜因病早逝，心碎的兩人也因此分手。賈斯伯建議三人穿越難民營以到濱海貝克斯希爾出海，並幫三人安排好去路。「費雪斯」很快追上，賈斯伯犧牲自己，讓帝歐等人有足夠時間離開。

帝歐找到賈斯伯安排的接應人悉得，悉得讓他們穿越難民營。過程中姬承受劇烈陣痛並即將分娩，米里亞姆幫忙分散警衛注意，但也因此被抓進難民營，生死未卜。抵達濱海貝克斯希爾後，在悉得安排的藏身處裡，帝歐幫助姬產下一名女嬰。隔天難民逃出難民營，街頭即將變成難民與軍方的交戰區。帝歐、姬和藏身處的女主人馬力卡帶著女嬰試圖找船出海，但先後被悉得和「費雪斯」成員抓捕。帝歐與姬最終逃進一棟大樓，承受著槍林彈雨。大樓裡的居民用敬畏的態度注視著女嬰，軍人一看到女嬰便下令停火，讓他們安全走到外面。

馬力卡帶著帝歐與姬找到船，兩人便帶著女嬰划船出海，將船停在目的地的浮標旁。帝歐因為先前在大樓裡被路克開槍射中而流血不止，姬告訴他，她要把懷中嬰兒取名為迪倫。帝歐最終失去意識，在帝歐的背後，「明日號」發現了他們，並正快速趕來。故事到此結束，畫面暗去後可聽見兒童嬉戲的聲音。

演員

製作

發展與編劇

導演艾方索·柯朗（攝於2013年）

1997年6月，Beacon Pictures（英语：Beacon Pictures）取得原著小說《人類之子（英语：The Children of Men）》（1992年出版）的電影改編權（英语：Film rights），價碼為數十萬美元[23]。由於作者P·D·詹姆斯提出一些特定的要求，授權協商過程為時將近一年[23]。改編電影將由Hit and Run Productions（英语：Hit and Run Productions）製作，該公司的Tony Smith（英语：Tony Smith (band manager)）與Hilary Shor擔任製片人[23]。劇本方面，Paul Chart（英语：Paul Chart）是第一位寫手，隨後馬克·費格斯與霍克·奧斯比改寫了劇本[24]。2001年10月，墨西哥導演艾方索·柯朗受聘執導該片，並與編劇提摩西·J·塞克斯頓（Timothy J. Sexton）一同修改劇本[24]。

柯朗是在閱讀劇本後決定接拍本片[25]，他覺得故事中的不孕題材可以當作現代社會中希望消退的隐喻[26]。柯朗在拍完《你他媽的也是》後馬上與塞克斯頓投入劇本寫作，但未能取得成果[25]。之後，柯朗花費兩年在伦敦製作《哈利波特：阿茲卡班的逃犯》（2004年），得以對英國的社會有更多的了解，並將所學運用在《人類之子》的劇本[25]。關於對原作的改編，塞克斯頓讀了整本小說，柯朗則選擇不閱讀原作，因為他的心中已有故事的雛型，擔心讀了原作後會失去頭緒[15][26]。兩人保留了原作裡全人類不孕的故事前提，然後針對21世紀初的現狀（如環境問題和移民問題）進行探討，最終產生了一個截然不同的故事[25]。

對於社會重建的描寫，柯朗以1966年電影《阿爾及爾之戰》當作範本，並以斯拉沃熱·齊澤克等人的作品為參考，建構片中的未來社會[27]。1927年電影《日出》也對本片影響深遠[28]。

[29]

演員敲定

2005年4月，克萊夫·歐文確認擔任本片的男主角[30]。

拍攝

本片於2005年9月15日開拍，於英格兰拍攝[31]。

[32]

[33]

片中設定在2027年的倫敦外觀破敗且鏽跡斑斑，該風格的參考對象是1971年電影《發條橘子》[28]。《人類之子》是柯朗第二次在倫敦拍片，他以單個寬鏡頭來捕捉這座城市[34]。柯朗在準備拍片時，倫敦發生了七七爆炸案，但他並未因而考慮至他處拍片。柯朗在接受《綜藝》雜誌訪問時說：「在別的地方拍攝幾乎是不可能的，因為這些取景地非常鮮明地融入了電影。舉例來說，從弗利特街望向St. Paul's的鏡頭就不可能在別處拍到」[34]。受事件影響，電影開場的Fleet Street恐怖攻擊場景在事後一個半月才拍攝[27]。

柯朗選擇在東倫敦拍攝一些場景，他認為那裏是一處毫不光鮮亮麗的地方。取景地經過劇組佈置，變得更加破敗不堪[27]。柯朗曾告訴劇組：「『讓布景再更像墨西哥一點。』可以說，我們會盯著一塊地然後說：這就是了，不過墨西哥的話還要再如此這般一點。重點在於讓拍片地點看起來落魄。窮困是此處的關鍵。」[27]。柯朗也運用了倫敦的一些熱門景點，包含特拉法加廣場與巴特西发电站。發電廠（改建成美術館的，向泰特現代藝術館致敬）的場景被評論家拿來與米开朗基罗·安东尼奥尼電影《Red Desert（英语：Red Desert (film)）》做對比[35]。柯朗在該橋段安插了一個pig balloon（英语：Pink Floyd pigs），向平克·弗洛伊德's 動物 (平克·佛洛伊德專輯)致敬[36]。其他出現在該橋段的藝術品包含 米开朗基罗's 大衛像,[37] 巴勃羅·畢卡索 格尔尼卡 (绘画),[38] and 班克斯's Kissing Coppers（英语：Kissing Coppers）.[39] 视觉特效工作室双重否定 (视觉特效工作室)和Framestore與柯隆直接合作，從劇本到後製階段皆然。兩家工作室開發了特效，並打造「原本不可能呈現的場景」[34]。

The Historic Dockyard in Chatham（英语：Chatham Dockyard）充當片中空盪盪的行動主義分子安全屋[40]。

片中的倫敦天際線出現了數位打造的碎片大厦，該大樓在電影製作時仍未建好，劇組根據大樓設計圖描繪該大樓在未來建好的模樣[41]。

Cuarón informed the art department that the film was the "anti-银翼杀手",[42] rejecting technologically advanced proposals and downplaying the science fiction elements of the 2027 setting. The director focused on images reflecting the contemporary period.[43][44]

Style and design

"In most sci-fi epics, special effects substitute for story. Here they seamlessly advance it", observes Colin Covert of Star Tribune.[45] Billboards were designed to balance a contemporary and futuristic appearance as well as easily visualizing what else was occurring in the rest of the world at the time, and cars were made to resemble modern ones at first glance, although a closer look made them seem unfamiliar.[46] Cuarón informed the art department that the film was the "anti-银翼杀手",[47] rejecting technologically advanced proposals and downplaying the science fiction elements of the 2027 setting. The director focused on images reflecting the contemporary period.[48][49]

References to the 2012年夏季奥林匹克运动会 were included in the film as London had been announced as the host city in July 2005, a few months before filming took place.[50]

Single-shot sequences

Children of Men used several lengthy 长镜头 in which extremely complex actions take place. The longest of these is a shot in which Kee gives birth (3m,19s); an ambush on a country road (4m,7s); and a scene in which Theo is captured by the Fishes, escapes, and runs down a street and through a building in the middle of a raging battle (6m,18s).[51] These sequences were extremely difficult to film, although the effect of continuity is sometimes an illusion, aided by 電腦合成影像 (CGI) effects and the use of 'seamless cuts' to enhance the 长镜头s.[52][53]

Cuarón had experimented with long takes in 烈愛風雲, 你他媽的也是, and 哈利波特：阿茲卡班的逃犯 (電影). His style is influenced by the Swiss film Jonah Who Will Be 25 in the Year 2000（英语：Jonah Who Will Be 25 in the Year 2000）, one of his favourites. He said "I was studying cinema when I first saw [Jonah], and interested in the 法國新浪潮. Jonah was so unflashy compared with those films. The camera keeps a certain distance and there are relatively few close-ups. It's elegant and flowing, constantly tracking, but very slowly and not calling attention to itself."[54]

The creation of the single-shot sequences was a challenging, time-consuming process that sparked concerns from the studio. It took fourteen days to prepare for the single shot in which Clive Owen's character searches a building under attack and five hours every time they wanted to reshoot it. In the middle of one shot, blood splattered onto the lens, and cinematographer 艾曼纽尔·卢贝兹基 convinced the director to leave it in. According to Owen, "Right in the thick of it are me and the camera operator because we're doing this very complicated, very specific dance which, when we come to shoot, we have to make feel completely random."[55]

Cuarón's initial idea for maintaining 連續性 (虛構) during the roadside ambush scene was dismissed by production experts as an "impossible shot to do". Fresh from the visual effects-laden Harry Potter and the Prisoner of Azkaban, Cuarón suggested using computer-generated imagery to film the scene. Lubezki refused to allow it, reminding the director that they had intended to make a film akin to a "raw 紀錄片". Instead, a special camera rig invented by Gary Thieltges（英语：Gary Thieltges） of Doggicam Systems was employed, allowing Cuarón to develop the scene as one extended shot.[21][56] A vehicle was modified to enable seats to tilt and lower actors out of the way of the camera, and the windshield was designed to tilt out of the way to allow camera movement in and out through the front windscreen. A crew of four, including the director of photography and camera operator, rode on the roof.[57]

However, the commonly reported statement that the action scenes are continuous shots[58] is not entirely true. Visual effects supervisor Frazer Churchill explains that the effects team had to "combine several takes to create impossibly long shots", where their job was to "create the illusion of a continuous camera move". Once the team was able to create a "seamless blend", they would move on to the next shot. These techniques were important for three continuous shots: the coffee shop explosion in the opening shot, the car ambush, and the battlefield scene. The coffee shop scene was composed of "two different takes shot over two consecutive days"; the car ambush was shot in "six sections and at four different locations over one week and required five seamless digital transitions"; and the battlefield scene "was captured in five separate takes over two locations". Churchill and the 双重否定 (视觉特效工作室) team created over 160 of these types of effects for the film.[59] In an interview with Variety, Cuarón acknowledged this nature of the "single-shot" action sequences: "Maybe I'm spilling a big secret, but sometimes it's more than what it looks like. The important thing is how you blend everything and how you keep the perception of a fluid choreography through all of these different pieces."[16]

Tim Webber（英语：Tim Webber） of VFX house Framestore CFC（英语：Framestore CFC） was responsible for the three-and-a-half-minute single take of Kee giving birth, helping to choreograph and create the CG effects of the childbirth.[34] Cuarón had originally intended to use an 机械玩偶 baby as Kee's child with the exception of the childbirth scene. In the end, two takes were shot, with the second take concealing Clare-Hope Ashitey's legs, replacing them with prosthetic legs. Cuarón was pleased with the results of the effect, and returned to previous shots of the baby in animatronic form, replacing them with Framestore's 電腦合成影像 baby.[52]

Sound

参见：Children of Men (soundtracks)

Cuarón used a combination of rock, pop, electronic music, hip-hop and classical music for the film's soundtrack.[60] Ambient sounds of traffic, barking dogs, and advertisements follow the character of Theo through London, East Sussex and Kent, producing what 洛杉磯時報 writer Kevin Crust called an "urban audio rumble".[60] Crust considered that the music comments indirectly on the barren world of Children of Men: 深紫's version of "Hush（英语：Hush (Billy Joe Royal song)）" playing from Jasper's car radio becomes a "sly lullaby for a world without babies" while King Crimson's "The Court of the Crimson King（英语：The Court of the Crimson King）" make a similar allusion with their lyrics, "three lullabies in an ancient tongue".[60]

Amongst a genre-spanning selection of 電子音樂, a remix of 艾費克斯雙胞胎's "Omgyjya Switch 7", which includes the 'Male Thijs Loud Scream' audio sample by Thanvannispen[61] can be heard during an early scene in Jasper's house. During a conversation between the two men, 电台司令's "Life in a Glasshouse（英语：Life in a Glasshouse）" plays in the background. A number of Dubstep tracks, including "Anti-War Dub" by Digital Mystikz（英语：Digital Mystikz）, as well as tracks by Kode9（英语：Kode9） & The Space Ape, Pinch（英语：Pinch (dubstep musician)） and Pressure（英语：Kevin Martin (British musician)） are also featured.[62]

For the Bexhill scenes during the film's second half, Cuarón makes use of silence and cacophonous 音效s such as the firing of automatic weapons and loudspeakers directing the movement of refugees.[60] Classical music by 格奥尔格·弗里德里希·亨德尔, 古斯塔夫·馬勒, and 克里斯托弗·潘德列茨基's "廣島受難者輓歌" complements the chaos of the refugee camp.[60] Throughout the film, 约翰·塔文纳's Fragments of a Prayer is used as a spiritual motif.[60]

Themes

Hope and faith

Children of Men explores the themes of 希望 and 信仰[63] in the face of overwhelming futility and despair.[64][28] The film's source, P·D·詹姆斯' novel The Children of Men（英语：The Children of Men） (1992), describes what happens when society is unable to reproduce, using male infertility to explain this problem.[65][66] In the novel, it is made clear that hope depends on future generations. James writes "It was reasonable to struggle, to suffer, perhaps even to die, for a more just, a more compassionate society, but not in a world with no future where, all too soon, the very words 'justice', 'compassion', 'society’, 'struggle', 'evil', would be unheard echoes on an empty air."[67]

The film does not explain the cause of the infertility, although environmental destruction and divine punishment are considered.[28][68][69] Cuarón has attributed this unanswered question (and others in the film) to his dislike for the purely expository film: "There's a kind of cinema I detest, which is a cinema that is about exposition and explanations ... It's become now what I call a medium for lazy readers ... Cinema is a hostage of narrative. And I'm very good at narrative as a hostage of cinema."[70] Cuarón's disdain for 背景故事 and exposition led him to use the concept of infertility as a "metaphor for the fading sense of hope".[70][68] The "almost mythical" Human Project is turned into a "metaphor for the possibility of the evolution of the human spirit, the evolution of human understanding".[71] Cuarón believed that explaining things such as the cause of the infertility and the Human Project would create a "pure science-fiction movie", removing focus from the story as a metaphor for hope.[72][68] Without dictating how the audience should feel by the end of the film, Cuarón encourages viewers to come to their own conclusions about the sense of hope depicted in the final scenes: "We wanted the end to be a glimpse of a possibility of hope, for the audience to invest their own sense of hope into that ending. So if you're a hopeful person you'll see a lot of hope, and if you're a bleak person you'll see a complete hopelessness at the end."[26]

Religion

Richard Blake, writing for 天主教會 magazine America（英语：America (magazine)）, suggested that like 维吉尔's 埃涅阿斯纪, 但丁·阿利吉耶里's 神曲, and 杰弗里·乔叟's 坎特伯雷故事集, the crux of the journey in Children of Men lies in what is uncovered along the path rather than the terminus itself.[37]

According to Cuarón, the title of P. D. James' book (The Children of Men（英语：The Children of Men）) is an allegory derived from a passage of scripture（英语：Psalm 90） in the Bible.[73] (Psalm 90 (89):3（英语：Psalm 90） of the 钦定版圣经: "Thou turnest man to destruction; and sayest, Return, ye children of men") James refers to her story as a "Christian fable"[65] while Cuarón describes it as "almost like a look at Christianity": "I didn't want to shy away from the spiritual archetypes", Cuarón told Filmmaker Magazine（英语：Filmmaker Magazine）. "But I wasn't interested in dealing with 教條."[26]

This divergence from the original was criticised by some, including Anthony Sacramone of First Things（英语：First Things）, who called the film "an act of vandalism", noting the irony of how Cuarón had removed religion from P.D. James' fable, in which morally sterile 虚无主义 is overcome by 基督教.[75]

The film has been noted for its use of 基督教象徵; for example, British terrorists named "耶穌魚" protect the rights of refugees.[76] Opening on 圣诞节 in the United States, critics compared the characters of Theo and Kee with Joseph and Mary,[77] calling the film a "modern-day 耶稣诞生".[78] Kee's pregnancy is revealed to Theo in a barn, alluding to the manger of the 耶稣降生场景; when Theo asks Kee who the father of the baby is she jokingly states she is a virgin; and when other characters discover Kee and her baby, they respond with "Jesus Christ（英语：Thou shalt not take the name of the Lord thy God in vain）" or the 十字聖號.[79]

To highlight these spiritual themes, Cuarón commissioned a 15-minute piece by British composer 约翰·塔文纳, a member of the 東正教會 whose work resonates with the themes of "motherhood, birth, rebirth, and redemption in the eyes of God". Calling his score a "musical and spiritual reaction to Alfonso's film", snippets of Tavener's "Fragments of a Prayer" contain lyrics in Latin, German, and Sanskrit sung by mezzo-soprano Sarah Connolly（英语：Sarah Connolly）. Words like "mata" (mother), "pahi mam" (protect me), "avatara" (saviour), and "alleluia" appear throughout the film.[80][81]

In the 片尾字幕, the 梵语 words "Shantih Shantih Shantih" appear as end titles.[82][83] Writer and 電影評論 Laura Eldred of the 北卡罗来纳大学教堂山分校 observes that Children of Men is "full of tidbits that call out to the educated viewer". During a visit to his house by Theo and Kee, Jasper says "Shanti, shanti, shanti". Eldred notes that the "shanti" used in the film is also found at the end of an 奥义书 and in the final line of T·S·艾略特's poem 荒原 (詩), a work Eldred describes as "devoted to contemplating a world emptied of fertility: a world on its last, teetering legs". "Shanti" is also a common beginning and ending to all Hindu prayers, and means "peace", referencing the invocation of divine intervention and rebirth through an end to violence.[84]

Contemporary references

Children of Men takes an unconventional approach to the modern 動作片, using a documentary, newsreel style.[85] Film critics Michael Rowin, Jason Guerrasio and Ethan Alter observe the film's underlying touchstone of 外來移民.

For Alter and other critics, the structural support and impetus for the contemporary references rests upon the visual nature of the film's exposition（英语：exposition (plot device)）, occurring in the form of imagery as opposed to conventional dialogue.[86] Other popular images appear, such as a sign over the refugee camp reading "Homeland Security".[87] The similarity between the hellish, 真實電影 stylised battle scenes of the film and current news and documentary coverage of the 伊拉克战争, is noted by film critic Manohla Dargis（英语：Manohla Dargis）, describing Cuarón's fictional landscapes as "war zones of extraordinary plausibility".[88]

In the film, refugees are "hunted down like cockroaches", rounded up and put into roofless cages open to the elements and camps, and even shot, leading film critics like Chris Smith and Claudia Puig to observe symbolic "overtones" and images of the 納粹大屠殺.[64][89] This is reinforced in the scene where an elderly refugee woman speaking German is seen detained in a cage,[39] and in the scene where British government agents strip and assault refugees; the song "Arbeit Macht Frei" by 放蕩樂團, from 勞動帶來自由, plays in the background.[90] "The visual allusions to the Nazi round-ups are unnerving", writes Richard A. Blake. "It shows what people can become when the government orchestrates their fears for its own advantage."[37]

Cuarón explains how he uses imagery in his fictional and futuristic events to allude to real, contemporary or historical incidents and beliefs,

They exit the Russian apartments, and the next shot you see is this woman wailing, holding the body of her son in her arms. This was a reference to a real photograph of a woman holding the body of her son in the Balkans, crying with the corpse of her son. It's very obvious that when the photographer captured that photograph, he was referencing 哀悼基督 (米开朗琪罗), the Michelangelo sculpture of Mary holding the corpse of Jesus. So: We have a reference to something that really happened, in the Balkans, which is itself a reference to the Michelangelo sculpture. At the same time, we use the sculpture of 大衛像 early on, which is also by Michelangelo, and we have of course the whole reference to the 耶稣诞生. And so everything was referencing and cross-referencing, as much as we could.[15]

Academic analysis

Several academics have thoroughly examined the themes of the film, with a primary focus on Alfonso Cuarón's creation of a dystopian landscape. One prominent aspect explored is the treatment of refugees, illustrating the regulation of life and the authoritarian tendencies mirrored in the extreme policies of the British government depicted in the film.[91] Additionally, Marcus O'Donnell, a researcher, has characterized the film's political realism as a form of "visionary realism," encompassing various apocalyptic events rather than a singular one.[92] Moreover, the film delves into the notion of political protection juxtaposed with physical life, particularly evident in its exploration of the status of the unborn child. Kee's body serves as the battleground for these conflicting forces, offering a critique of migration politics while simultaneously idealizing the future child.[93] In the extra features on the film’s 2007 DVD release, 斯拉沃熱·齊澤克 claims, “I think that the film gives the best diagnosis of ideological despair of late capitalism, of a society without history.” [94]

Release

Box office

Children of Men had its 首演 at the 第63届威尼斯国际电影节 on 3 September 2006.[95] On 22 September 2006, the film debuted at number 1 in the United Kingdom with $2.4 million in 368 screens.[96] It debuted in a limited release of 16 theaters in the United States on 22 December 2006, expanding to more than 1,200 theaters on 5 January 2007.[97] 截至2008年2月6日 (2008-02-06), Children of Men had grossed $69,612,678 worldwide, with $35,552,383 of the revenue generated in the United States.[98]

Home media

The HD-DVD and DVD were released in Europe on 15 January 2007[99] and in the United States on 27 March 2007. Extras include a half-hour documentary by director Alfonso Cuarón, entitled The Possibility of Hope (2007), which explores the intersection between the film's themes and reality with a critical analysis by eminent scholars: the Slovenian sociologist and philosopher 斯拉沃熱·齊澤克, anti-globalization activist 娜奥米·克莱恩, environmentalist futurist 詹姆斯·洛夫洛克, sociologist 薩斯基雅·薩森, 人文地理学 Fabrizio Eva, cultural theorist 茨維坦·托多洛夫, and philosopher and economist 约翰·格雷 (哲学家). "Under Attack" features a demonstration of the innovative techniques required for the car chase and battle scenes; in "Theo & Julian", Clive Owen and Julianne Moore discuss their characters; "Futuristic Design" opens the door on the production design and look of the film; "Visual Effects" shows how the digital baby was created. Deleted scenes are included.[100] The film was released on 藍光光碟 in the United States on 26 May 2009.[101]

Reception

Critical response

Children of Men received critical acclaim; on the review aggregator website 爛番茄, the film received a 92% approval rating based on 252 reviews from critics, with an average rating of 8.10/10. The site's critical consensus states: "Children of Men works on every level: as a violent chase thriller, a fantastical cautionary tale, and a sophisticated human drama about societies struggling to live."[102] On Metacritic, the film has a score of 84 out of 100, based on 38 reviews, indicating "universal acclaim".[103] Audiences polled by 影院评分 gave the film an average grade "B−" on an A+ to F scale.[104]

罗杰·埃伯特 of the 芝加哥太陽報 gave the film four stars out of four, writing, "Cuarón fulfills the promise of futuristic fiction; characters do not wear strange costumes or visit the moon, and the cities are not plastic hallucinations, but look just like today, except tired and shabby. Here is certainly a world ending not with a bang but a whimper, and the film serves as a cautionary warning."[105] Dana Stevens（英语：Dana Stevens (critic)） of Slate called it "the herald of another blessed event: the arrival of a great director by the name of Alfonso Cuarón". Stevens hailed the film's extended car chase and battle scenes as "two of the most virtuoso single-shot chase sequences I've ever seen".[78] Manohla Dargis（英语：Manohla Dargis） of 纽约时报 called the film a "superbly directed political thriller", raining accolades on the long chase scenes.[88] "Easily one of the best films of the year" said Ethan Alter of Film Journal International, with scenes that "dazzle you with their technical complexity and visual virtuosity".[86] Jonathan Romney of 獨立報 (英國) praised the accuracy of Cuarón's portrait of the United Kingdom, but he criticized some of the film's futuristic scenes as "run-of-the-mill future fantasy".[39] Film Comment（英语：Film Comment）'s critics' poll of the best films of 2006 ranked the film number 19, while the 2006 readers' poll ranked it number two.[106] On their list of the best movies of 2006, 影音俱樂部, the 旧金山纪事报, Slate, and 华盛顿邮报 placed the film at number one.[107] 娱乐周刊 ranked the film seventh on its end-of-the-decade top 10 list, saying, "Alfonso Cuarón's dystopian 2006 film reminded us that adrenaline-juicing action sequences can work best when the future looks just as grimy as today".[108]

彼得·崔維斯 of 滾石 (雜誌) ranked it number two on his list of best films of the decade, writing:

I thought director Alfonso Cuarón's film of P.D. James' futuristic political-fable novel was good when it opened in 2006. After repeated viewings, I know Children of Men is indisputably great ... No movie this decade was more redolent of sorrowful beauty and exhilarating action. You don't just watch the car ambush scene (pure camera wizardry)—you live inside it. That's Cuarón's magic: He makes you believe."[109]

According to Metacritic's analysis of the films most often noted on the best-of-the-decade lists, Children of Men is the 11th greatest film of the 2000s.[110]

In the book 501 Must-See Movies, Rob Hill lauds the movie for its dystopian portrayal of the future and its adept exploration of contemporary issues. Hill highlights the film's societal stagnation and the magnetizing effect of Britain on immigrants and terrorists, emphasizing the director's intelligence in weaving speculative narratives with real-world reflections. He applauds Cuarón's skill in creating a cinematic mirror that resonates with audiences by addressing pressing political and social concerns, all within a compelling dystopian framework.[111]

In the wake of the 歐洲移民危機 of 2015, the 英國脫歐 of the late 2010s, Donald Trump's presidency（英语：First presidency of Donald Trump） 2017-2021, and the 2019冠状病毒病疫情 of 2020, all of which involved divisive debates about immigration and increasing border enforcement, several commentators reappraised the film's importance, with many calling it "prescient".[a]

Top 10 lists

The film appeared on many critics' top 10 lists as one of the best 2006年电影:[107]

In 2012, director 马克·韦布 included the film on his list of Top 10 Greatest Films when asked by 视与听 for his votes for the BFI The Top 50 Greatest Films of All Time（英语：BFI The Top 50 Greatest Films of All Time）.[123] In 2015, the film was named number one on an all-time Top 10 Movies list by the blog Pop Culture Philosopher.[124] In 2016, it was voted 13th among 100 films considered the 英國廣播公司21世紀百大電影 by 117 film critics from around the world.[125] In 2017, 滾石 (雜誌) magazine ranked Children of Men as the best 科學幻想 film of the 21st century.[126] In 2023, 時代雜誌 listed the film as one of the best 100 movies from the past 10 decades.[127]

Accolades

P·D·詹姆斯 was reported to be pleased with the film,[128] and the screenwriters of Children of Men were awarded the 19th annual USC Scripter Award（英语：USC Scripter Award） for the screen adaptation of the novel.[129]

Award Category Recipient Result Ref.
第79届奥斯卡金像奖 奧斯卡最佳改編劇本獎 艾方索·柯朗, Timothy J. Sexton, David Arata（英语：David Arata）, 馬克·費格斯與霍克·奧斯比 提名 [130]
奧斯卡最佳攝影獎 艾曼纽尔·卢贝兹基 提名
奥斯卡最佳影片剪辑奖 艾方索·柯朗 and Álex Rodríguez（英语：Álex Rodríguez (film editor)） 提名
BAFTA Awards（英语：60th British Academy Film Awards） Best Cinematography（英语：BAFTA Award for Best Cinematography） 艾曼纽尔·卢贝兹基 獲獎 [131]
Best Production Design（英语：BAFTA Award for Best Production Design） Jim Clay, Geoffrey Kirkland（英语：Geoffrey Kirkland）, and Jennifer Williams 獲獎
Best Special Visual Effects（英语：BAFTA Award for Best Special Visual Effects） Frazer Churchill, Tim Webber（英语：Tim Webber）, Mike Eames（英语：Mike Eames）, and Paul Corbould（英语：Paul Corbould） 提名
美国电影摄影师协会 Best Cinematography（英语：American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases） 艾曼纽尔·卢贝兹基 獲獎 [132][133]
Australian Cinematographers Society（英语：Australian Cinematographers Society） International Award for Cinematography 獲獎 [134]
雨果奖 雨果獎最佳戲劇表現獎 艾方索·柯朗, Timothy J. Sexton, David Arata（英语：David Arata）, Mark Fergus, Hawk Ostby, P·D·詹姆斯 提名 [135]
Saturn Awards（英语：33rd Saturn Awards） 土星獎最佳科幻電影 Children of Men 獲獎 [136]
Best Director（英语：Saturn Award for Best Director） 艾方索·柯朗 提名 .[137]
土星獎最佳電影男主角 克萊夫·歐文 提名
南加州大学 USC Scripter Award（英语：USC Scripter Award） Screenwriters 獲獎 [138]

Notes

  1. ^ Attributed to multiple sources:[112][113][114][115][116][117][118][119][120][121][122]

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