推荐理由：和同类逃亡题材的公路片相比，《野草蔓生》刻意剥离了所有浪漫化滤镜。没有激烈的冲突，只有镜头跟随一对困在汽车旅馆和沼泽边的小夫妻，用重复的早餐、漫无目的的开车和沉默呼应着他们的无力感。莱卡特用手持镜头捕捉日常的裂隙——长镜头里角色聊着无关紧要的话，背景蝉鸣压过对白，镜头突然切到一片荒草——这种看似“随意”的剪辑恰恰是她的作者签名：生活本就由断裂的瞬间构成。凯莉·莱卡特的处女作把一场本应惊心动魄的逃亡拍成了佛罗里达沼泽边漫无目的的游荡——主角们捡到一把枪，却不知道怎么用；决定跑路，却连该往哪个方向走都犹豫不决。莱卡特的镜头像佛罗里达午后的湿气一样黏腻、缓慢，冗长地停留在公路边的杂草、屋前的枯叶上，把“逃离”拍成了一场没完没了的消磨。剧情？说白了就是一对百无聊赖的男女因为一起“意外”枪击凑到一起，但压根没有逃犯该有的紧张感，反而让人看得有点好笑又心酸。

　　River of Grass has all the elements of a conventional road movie: a car, a gun, criminal plans, and young lovers on the run from an angry father who also happens to be a suspended police officer. But writer and director Kelly Reichardt has instead taken these familiar elements and fashioned an anti-road movie, a deadpan film that is more existentialist comedy than crime drama. The young lovers in question are Cozy, the cop's daughter, and Lee Ray, a shady character from the wrong end of town. Lee Ray comes into possession of a pistol, and soon he and Cozy find themselves unintentionally involved in a shooting. Fearing capture by the law, the two make plans to leave town, committing a series of robberies on the way. However, they don't manage to get very far; indeed, the film's central premise is how the romantic myth of lovers on the lam proves disappointing in the face of a far more pedestrian reality. This well-received, low-budget indie was shot on location in South Florida, placing its story against an appropriately depressed landscape of sun-bleached strip malls, barren highways and overgrown, swampy fields; the title is another name for the Florida Everglades.

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