A woman in the frame’s foreground watches events unfolding in a room. Suddenly, hitherto hidden by her figure, her double enters the scene, and catastrophe ensues. Is this a tricky horror-mystery-thriller by Dario Argento or Brian De Palma? No, it is the extraordinary, unexpected gesture of Indonesian master Garin Nugroho marrying his penchant for other-worldly fantasy with myriad devices of popular genre. A Rotterdam regular over the past twenty-seven years, Nugroho’s impressive body of work spans features, documentaries and shorts, among these acclaimed Opera Jawa, selected for IFFR 2007.                                    还真的是典型的索金气势派头。一边看影戏一边慨叹，政治权力的控制真是无处不正在，即使号称自由平易近族的灯塔国正在政党利益面前，人权和真相也不过如此。正在越战的背景下，将60年月美国政治和社会的矛盾聚焦于一场法庭审判中，足见索金的老到。影片对关键人物的描写也相当立体，特地是海登和霍夫曼那两个陈明的人物比较，固然同为阻挡越战而争，但一个是表面满和但真则追供政治幻念的精美的利己主义者，一个是看似疯狂真践有领略思念和政治主张的革命主义者，正在一场举动中任何人都不是简单的非黑即白。霍夫曼的那段作证真是精彩极了。
                               　　The tale of an enigmatic serial killer within the worlds of art and high fashion owes much to the global form of the giallo genre. Still, Nugroho reveals this framework to accommodate Indonesian mythology and spirituality entirely. Masks, snakes, clothing fabrics, trance dances; this entire iconography takes on a renewed, vibrant meaning in Deadly Love Poem. Likewise, modern criminal psychological profiling sits comfortably alongside the intergenerational traumas of family life and cultural constraints.                                    
                               　　With its non-stop music score, ever-mobile camera, mind-blowing colour and design scheme, Deadly Love Poem stands as an exhilarating corrective to the snobbish current trend of ’elevated horror’ cinema. Nugroho respects old and new traditions and whips them into an unforeseen, intoxicating delirium.                                    
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