Arkham, 1975: Jonathan Davis' father has disappeared. His tracks lead to Germany, to the Swabian-Franconian Forest where he was stationed after the Second World War. Jonathan sets out to find him and bring him home, but deep in the woods he discovers a dark mystery from the past. Based on H.P. Lovecraft's short novel "The Colour Out of Space".
brutashell review - 'Filmed in black and white and primarily spoken in German, it is obvious that Die Farbe did not have a huge budget to work with. Effects are minimal and the cast is utterly unknown. I should point out that these are all good things, and work very much in the film's favour. There is no CGI to rely on, no name actors to carry it. Rather, the filmmakers do the unthinkable: they create a genuine atmosphere of unimaginable dread and unspeakable horror, using shadow, suggestion and rare splashes of that Nameless colour in a few select frames. In short, they did a damn good job. Die Farbe is subtle in its mounting horror, nurturing a dark dread deep in your bowels with every shot. All of the best and most stomach-turningly distressing films I’ve ever seen have come out of Germany: M, The Cabinet Of Dr. Caligari, The White Ribbon, and now this one. Leave it to the Germans. We know how to gross you out on the deepest psychological levels.
Lovecraft worshippers and devotees of German Expressionism alike, take heed: seek out and view this film at your earliest possible convenience. It’s a dark, noisome little gem that will squirm into your subconscious and lay its eggs in your sanity. Hey, not everyone gets the honour of being a host organism for the Elder Gods, you know.'
结案陈词真剪短，这剧本写得可真不错！我爱着我的国家，用着我们自己的方式！
没有修正，就不会改变。
密集喷薄的台词所带来的并不是语言的力量，反倒是凸显出一种沟通的无力感和无效化。话语中的理性再大声亦是听而不闻，偶尔嘀咕的情绪性再小声也会被准确捕捉，事实不再由话语的真伪决定，而取决于人数多少。语言不再是交流的介质，从权利变成了权力，变成了立场的工具。“黑场”的处理也由此生出了一种“说这么多也没用，索性不说了”的感觉，大家来拼口号跟行动吧，毕竟The Whole World is Watching——一种公道自在人心的理想和信任。
把波澜壮阔的社会大事件装进审判厅狭窄的空间里展开故事，很考验编剧和摄像的调度能力，当然对观影者的法律、民权运动等知识的谂熟程度也是一个大考验。
当权力要作恶的时候，包括法律程序都要变成其帮凶。人们并非不知道权力的丑陋，只是因为软弱他们选择了岁月静好。体制并非无法被撼动，只是需要躺下成为滚木的受难者。
最后歌曲响起很感动，虽然对那段历史不太了解，也看得出是美国一贯的电影风格，追求自由才是宪法精神。
JerryRubin
作为在沙漠里渴了很久的人，确实没办法再去挑剔一瓶水是否纯天然是否营养均衡。感受到的只有畅饮的爽快。
理想和灯塔常有，但成为灯塔的理想不常有。民主和理性常有，但理性的民主不常有。体制和进步常有，但体制的进步不常有。
一种非常当下的东西，剧作极佳，导演工作平庸
千名英魂万卧底，十年断层一镜隔。
小雀斑最后陈述的时候我眼泪一下就流出来了，还是那个Aaron Sorkin,那个心中充满理想主义的艾伦索金。不旺我用The Newsroom做屏保这么多年。比茉莉牌局导演视角更成熟，纯文本的庭审记录为基础，也更能发挥他的优势/世事时代自有评论
历史总是会自动重演。但有些时候，没有目击者。
“异议是爱国的最高形式”(Dissent is the highest form of patriotism)——美国第三任总统汤托马斯·杰斐逊。
好好改改剧本说不定能拿奥斯卡，剧情不怎么样，但是还是值得五星。
7.5/10 把白左打在每一幀裡的片。節奏太舒服了，但是索金還是太踏實，少一絲靈韻，稍微照本宣科了一點；畢竟這個演員班底是可以飄一飄玩票大的。
也许是鄙人经历过1980年代末期的各种运动思潮，对于游行抗争有直面的感受。
反战思潮、嬉皮文化、五月风暴，那是“整个世界都进入了青春期”的六十年代。
是否存在一个民权运动电影的现象？《芝加哥七君子审判》是目前看到最成熟的，无论是叙事线把握整合的能力还是煽情的能力（沉默与暴力的对接是最显见的精彩剪辑），奇怪的是，要为这类电影做一个精彩的收尾莫非真是一件难事？太泄气了
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