The elderly caretaker of a remote morgue possesses an impeccable memory for everything but names. He passes his days showing corpses to those searching for their lost ones and tending to his beloved plants. When protest in a nearby city breaks out and the militia covertly raid the morgue to hide civilian casualties, he discovers the body of an unknown young woman. Evoking memories of personal loss, he embarks on a magical odyssey to give her a proper burial with the help of a mystic gravedigger who collects stories of the dead, an old woman searching for her long-lost daughter, and a hearse driver tormented by his past.
政治高压的社会环境里，反叛者的故事注定要被掩埋。
可能更多的人会留意到大漠中伫立着的“五指山”劫后余生，呻吟的蓝鲸划过天空，空荡的前挡迎着冷风，此类等等，魔幻现实往往就是将现实的一切罪恶化作触手可及的梦，让观者自己选择沉默抑或觉醒，伊朗导演的殇，穿过智利历史的痛，让世界另一头的我们，看到的可能是镜像，也可能是似曾相识恶的平庸
#Venice2017# 本届第二个五星！伊朗导演的处女作竟然是智利题材，有着极其精到的对政治话语的把握，遗忘、记忆、历史与现实的主题在少言寡语的守墓人身上完美统一。处理极为节制而且形式感真是到位（超现实的段落多了点）。导演电影语言意识极强，前途绝对不可限量，好好发展成就不会亚于萨金塞夫！
在《遗忘诗行》审慎的如阿巴斯般的若干固定镜头中，魔幻现实主义依然能够微妙地介入。这种对当下、过去、未来的处理构成了它逐渐失语的悲观主义：在近乎“死去”的当下无人不是僵尸。通过这些，影片进入政治意义上之于智利独裁政权历史的回望与表态。并由政治性向阿巴斯式形而上哲思回归。
