The title designates the heart of this film – a whale bone box tied with fishing net and found washed up on the shore. Is it an enigmatic object containing a secret? A relic, a survivor from a mysterious shipwreck, or perhaps possessing magic powers? No-one knows, except that it was given to Ian Sinclair, writer, filmmaker, psychogeographer and Andrew Kötting’s walking companion in his latest “jaunt- themed” films. They set out on an expedition to take this box from London to its place of origin, a beach on the Isle of Harris in Scotland’s Outer Hebrides. The trip is not to solve the mystery, but to feel its powers. In parallel to this journey, far away, is Andrew Kötting’s daughter Eden, who has already appeared in several of his earlier films. This film also sets off on a very different voyage. While, as Iain points out, the object seems “heavier and heavier, turning into a different substance”, Eden, suffering from Joubert syndrome, shapes the film with her unfathomable being. “What can you see? Where are you?” we hear, murmurs repeated throughout the film by the father addressing the young woman. From the depths of her sleep or adorned with a magnificent crown of flowers and binoculars, she is the film’s muse, its guide and oracle. This generous odyssey also takes us on a few detours, including via dead poets Basil Bunting and Sorley MacLean and the sculptor Steve Dilworth – and further still, with successive touches, via other boxes, other seas, other mysteries, other whales and other quests, from Pandora to Moby Dick. The film should also be heard as a cry from the depths, an offering and a magnificent ode to Eden, an artist whose work, Kötting tells us “is rooted in an elsewhere”. (N.F.)

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电影讲了三个故事：小娜遇害的故事；小娜的家庭；苗苗的家庭。用后两个家庭的故事去注解小娜遇害的故事。整个电影试图去讲述一个关于原生家庭问题的罗生门，以最后十几分钟日本公关警察送还女儿账号为节点，去推翻之前的故事和视角，做了一个二次陈述，展示原生家庭伤疤导致的小娜自身存在的问题。而这样陈述的糟糕之处在于，观影的人们只会记得最后的故事，将其作为“答案”，叙事逻辑很容易变成了“受害者有罪”和“是你没教好自己的孩子”电影原意是好的，在讲一个悲剧的同时，想探寻悲剧为何发生。但是

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ep Rachel真的好好看，喜欢她的眼睛，真的好哈士奇。Shane真的是典型家里有钱妈宝男。青少年朋友真的好姬，有点中二，单身女和按摩师也好姬ep 这个度假村真的好像环球度假屋里出现过的那套。为什么老板不直接还包给青少年啊？原来是因为想自己磕药。Olivia真的好像在吃醋，对朋友的占有欲。People are gonna do anything just to get laid。我也好想在海滩睡觉，太浪漫了ep为什么paula要瞒着Olivia啊？总感觉小儿子是gayep我还以为Paula瞒着Olivia是因为啥呢，原来是这么典型的原因，这两个好有cp感的诶

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看不懂但试图看懂的观众，成为了无数个坐在观众席看舞台破案的马哲。看不懂但批判咒骂的观众，成为了逼死“疯子”们的大多数“正常人”。认为懂并发表解读的观众，成为了只看到部分事实就嘎嘎叫嚷的鹅。真正懂但一言不发的主创，是那条见证一切但默默流淌的河。各路观众的反应，也是《河边的错误》play的一环。电影搭配这些观众百态食用，才真正凸显了荒诞和黑色幽默。[河边的错误]

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抛开电影技术问题，聊聊美国人造原子弹的一些科技创新和商业探索问题。应用创新很重要美国在二战前就是gdp世界第一，但本国技术原创能力仍不是最强的。德国人的物理比美国人好就是一个例子。所以奥本海默会不远万里去欧洲学习物理。美国变成世界第一，靠的主要不是理论创新，而是应用创新。理论主要来源于其精神母体欧洲。但美国人的应用创新做的特别好，原子弹是一个军用例子，民用里一个典型例子是福特汽车。汽车和发动机都不是美国人发明的，但当年把汽车做大做强的是美国。所以不要轻视应用创新。理