Warwick Thornton’s 2009 film Samson and Delilah is an astonishing achievement in Australian Indigenous cinema and, in a global context, Fourth Cinema. Combining the realism of violence and dispossession within Central Desert Indigenous communities, particularly violence against women and minors, with sharp ground–level cinematography and extensive use of silence, the film builds on a recent wave of experimental Indigenous film–making to refract narratives of Indigenous experience in striking ways. That it performs such an acute critique of cultural marginalization and of its representation in film culture by means of expert filmic technique is distinction enough. That it accomplishes such a nuanced and intelligent response to a history of dispossession and of marginal cultural representation with two first–time screen actors, Rowan McNamara and Marissa Gibson, is astonishing. Their subtle performances – McNamara’s character makes only one utterance, his name, during the entire film – become magnetic embodiments of their narrative predicament. They situate the viewer as witness to violence and prejudice, and as an inheritor of a history of physical and spiritual violence. Rather than dwell in didacticism, the film instead liberates its characters by virtue of their resilience, having survived their trials. In placing two teenage Indigenous subjects at the heart of a feature film, Samson and Delilah is a decisive act of revelation, a gesture towards other stories yet untold.

中文翻译：

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参孙和大利拉

沃里克·桑顿 (Warwick Thornton) 2009 年的电影《参孙与黛利拉》(Samson and Delilah) 是澳大利亚原住民电影和全球第四部电影的惊人成就。这部电影将中部沙漠土著社区内的暴力和剥夺的现实主义，尤其是对妇女和未成年人的暴力行为与尖锐的地面摄影和广泛使用沉默相结合，以最近一波实验性土著电影制作为基础，以折射土著人的叙事。以惊人的方式体验。它通过专业的电影技术对文化边缘化及其在电影文化中的表现进行如此尖锐的批判，这已经足够了。它对两个第一次出演银幕演员的剥夺和边缘文化表现的历史做出了如此微妙而明智的回应，Rowan McNamara 和 Marissa Gibson，令人惊讶。他们微妙的表演——麦克纳马拉的角色在整部电影中只说了一句，他的名字——成为他们叙事困境的磁性体现。他们将观众视为暴力和偏见的见证人，以及身体和精神暴力历史的继承者。这部电影并没有停留在说教主义中，而是凭借他们的韧性来解放它的角色，在他们的考验中幸存下来。将两个十几岁的土著主题放在故事片的核心，参孙和黛利拉是一种决定性的启示行为，是对其他尚未讲述的故事的一种姿态。他们将观众视为暴力和偏见的见证人，以及身体和精神暴力历史的继承者。这部电影并没有停留在说教主义中，而是凭借他们的韧性来解放它的角色，在他们的考验中幸存下来。将两个十几岁的土著主题置于故事片的核心，《参孙和黛利拉》是一种决定性的启示行为，是对其他尚未讲述的故事的一种姿态。他们将观众视为暴力和偏见的见证人，以及身体和精神暴力历史的继承者。这部电影并没有停留在说教主义中，而是凭借他们的韧性来解放它的角色，在他们的考验中幸存下来。将两个十几岁的土著主题放在故事片的核心，参孙和黛利拉是一种决定性的启示行为，是对其他尚未讲述的故事的一种姿态。