《巴尔的摩》和同类型政治剧情片最大的区别在于，它几乎抽掉了所有“爆发点”——没有慷慨陈词，没有动作场面，连冲突都藏进人物的沉默里。Tom Vaughan-Lawlor以极度内敛的肢体语言传递出角色在理想主义与暴力之间的撕裂，而Lewis Brophy几场沉默对峙的戏份，则用眼神的细微变化撑起戏剧张力。汤姆-沃恩-劳勒几个演员演得特别克制，像真实生活里会碰到的邻居，不煽情但特戳人。里维斯·布罗菲演的那个配角更让人心里发堵：他每次开口都像在自言自语，但偏偏会让人想起某个你见过却叫不出名字的孤独邻居。这片子节奏挺慢的，镜头一直跟着女主角走，像纪录片一样真实。:D。

　　The latest by powerhouse artist-filmmaker duo Christine Molloy and Joe Lawlor picks up a thread from their last film THE FUTURE TENSE, a soulful investigation of Ireland’s tumultuous history. Here, using the form of a heist movie, they tell the true story of Rose Dugdale (played by Imogen Poots), a young heiress who rebelled against her English aristocratic upbringing to volunteer with the Irish Republican Army. In 1974, Dugdale and her collaborators swiped 19 paintings—including Rubens, Goya, and Vermeer—from a private home, using these treasures as leverage for the liberation of four IRA prisoners. Lawlor and Molloy’s highly atmospheric thriller plunges us into the Troubles with heart-stopping intensity, and Poots is riveting as the revolutionary. Beneath her radical facade, we see her fragility and inner turmoil, as she wrestles with appreciation for the beautiful artifacts of a world she has set out to destroy, and the fear of the chaos she has unleashed.

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