无尽2017

有点不可思议，发现最终让我难以忘怀的电影都是恐怖片。上一部让我毛骨悚然叹为观止的恐怖片是《恐怖游轮》。它说的是：每个人的每一个选择——无论你有多少次机会，多么次挣扎，最终都会在每一个关键的时候犯同一种错误——最终万劫不复，指向同一个结局。

《恐怖游轮》中，支持女主走下去是对儿子的爱，导致走向循环的是自己血液中的烦躁和暴虐。《无尽》中支持两男主走下去的是对彼此的容忍和羁绊，最终能走出循环的是对彼此的尊重和释然。

评论区有人转发了导演的访谈，然后认为电影只有一个“乐观”结局，呵呵，未必吧。其实原文章中根本就没有这个意思，只是说导演更倾向于让大家理解这是一个 Happy Ending。大意是说他们只是讲了一个破有深度的神秘的故事，他们不会直白的把所有东西摆上台面。反正至少对兄弟而言，哥哥放下了控制欲，弟弟也勇敢的掌舵起了自己的方向盘，他们已经逃出了无尽的怪圈——这就够了。

同时，导演说，电影中已有导演想表达想布置的一切。所以对一部有科幻属性设置的电影，其他任何对电影结局有其他解读的观影者都是正常不过的事情。从商业角度上，其实这也是导演故意设置的开放式伎俩，可以在后继的故事中随时展开新的篇章。我觉得可以肯定的是，后面还会有第三部曲的，可能会讲怪圈中的人如何逃离（例如麦克和老婆如何相聚之类），但导演们还没想好如何讲好这个故事，总之我相信会有。如果我是导演，我就会有。WHY NOT?!

1、影片开始的录像带，是怪物寄的。兄弟两在重启前逃出了营地，怪物的目的是在重启前重新禁锢他们。怪物的嗜好就是喜欢观察别人的悲欢离合和挣扎冲突（导演说这点上观众和怪物很像哈哈）。

2、哥哥的人设是控制欲+说谎者，营地中的不明力量让他各种恐惧，更别说控制了，所以他会带着弟弟逃离。弟弟的人设是乐观+认死理，但十年来都活在被哥哥主宰的梦魇中。录影带让他意识到回营地可能是一个逃脱的机会，所以想回去寻找答案做个了结。

3、哥哥喜欢跑步，营地中所到之处处处透露着怪异，无不让他无力和不安。小到村民的眼神和动作，中到出没的毒蛇和虎豹，大到天上的闪烁和怪风。这些其实更像是怪物针对人性设置的异象，达到逐渐摧毁逐步控制的目的。有点像修炼小说中的心魔。包括两人玩射击，弟弟子弹没阻挡，哥哥子弹被挡住了。包括玩魔术时其实魔术师猜对了，但哥哥睁眼说瞎话，典型属于只相信自己想相信的人。

4、拔河的小游戏，佐证了其实弟弟是个更单纯更客观的人，顾及亲情，一直容忍着哥哥无厘头的控制权。从影片开头弟弟反对哥哥的刷爆信用卡固执说“我会搞定”，到路上开车哥哥蛮横不给弟弟掌舵，床上聊天粗鲁打断弟弟的话，到最后两人在车是否没油的话题上，终于肯定弟弟，说出“你来搞定”。同一句话，不同主语，一个轮回。

5、湖中捞起的影片暴露了哥哥的本质，从而成功离间了哥弟两。片中怪物的设计是无所不看无所不能的。片头兄弟在湖边喝酒聊天时天空明显的怪圈，可以理解为怪物无时不刻的监控。这也解释了哥哥在营地外招摇撞骗时照样被拍的录像。

6、两人在营地入口路边悼念母亲，这里的对称天空说明这里是营地轮回世界的边界。母亲的纪念碑在其中，所以画框历久常新。这里的翻译也是有问题的，弟弟说 Hold Up，是说画框居然这么耐抗。这是开始进入轮回世界的一个提示。最后两人冲出生天，说明怪物的控制更多是一种心理控制，感觉可能是类似于《万能钥匙》中只要你信了你就中招了的设定。车辆冲撞是一种幻想，如果怂了那就是输了。可以设想，换做哥哥开车，他是无论如何也不敢撞上去的。

7、营地的人们还是很好心的。虽说他们知道什么情况，但毕竟身在其中无法明言。哈尔指引弟弟去找哥哥，卡尔指引哥哥去找弟弟，还有安娜对弟弟挥手作别，最后全体复活后目送兄弟离开。不管如何，弟弟说的没错，至少他们曾经也是伐木累。哥哥在这个问题上各种造谣中伤，确实非常恶劣。可以说如果不是弟弟，哥哥要么困在里面这个怪圈，要么困在外面的怪圈。

8，前传《决案》我没找到资源看不了，所以戒毒两人组就只是觉得搞笑，暂时没有其他解读。不过这两个导演的下一部让人期待！小众而深刻！为什么我觉得可以有另一种解读，是因为最后天上的一弯新月：如果说两兄弟进入了一个全新的循环，是完全说得通的，只要把怪物的设定继续完善和加强就可以，再简单不过的事情。这种完全取决于导演的发挥。总之怪物的真面目，猜测极有可能会在下一部续作中揭晓。

9，最后几点感悟：无知是福；越控制越无力；我觉得不如你觉得。

——————————————————

一点疑问：为何卡尔上吊后，新的卡尔复活了，上吊的卡尔不会消失？这里真心百思不得其姐！！！

没时间读完的朋友，简单总结就是导演说了，结尾是happy ending，不是loop，兄弟俩逃出生天。

http://collider.com/the-endless-explained-interview/

‘The Endless’ Filmmakers on Their Trippy Mythology & Deciphering That Ending

This week, Justin Benson and Aaron Moorhead‘s The Endless rolls out on Blu-ray and digital, which means that folks nationwide are going to be unravelling the headtrip horrors of the film’s unnerving, mysterious Lovecraftian mythology and looking for some answers.Earlier this month, I published the first part of my conversationwith the filmmaking duo, which spanned from the duo’s early ideas for expanding the universe they built in their first film, Resolution, to the experience of taking the finished versionThe Endless around the world. And now that the movie has hit more theaters, it seems like a good time to serve up the spoilery portion of the interview, which dives into what to make of the film’s mysterious mythology and ending.

If you need a refresher, The Endless follows Benson and Moorhead as Justin and Aaron (yes, they’re using their real names, but no, they’re no playing themselves), a pair of bickering brothers always at odds who return to the UFO death cult they escaped as kids in search of answers. Except when they get there, they don’t find a UFO death cult at all, but a happy and healthy, if admittedly weird and unsettling, commune of people living life on their own terms. They also find something more sinister lurking in the hillsides of the remote camp — an unseen, oppressive presence that communicates through voyeuristic photographs and video clips, trapping people in time-loop prisons where it manipulates and torments them into various horrific fates for its own amusement. A frontiersman trapped in a loop of mere seconds, a man who has to kill himself every few minutes to prevent a worse fate, and the local cult, who have it relatively easy by comparison — living out a decently long three-moon loop that ends with their “ascension,” aka being shredded into bloody bits. Yikes. At least they don’t have to worry about aging.

Image via Well Go USA

And of course, there’s the return of Mike (Peter Ciella) and Chris (Vinny Curran) from Resolution,who are trapped in the bitter week-long loop of forced sobriety and failing friendship detailed in the 2002 film. The unseen evil in The Endless is the same chilling cosmic threat we met in Resolution, and the films share more crossovers thanyou’d probably imagine on a first watch, so you’re looking for more answers on The Endless, a rewatch of Resolution is the perfect place to start. Or first watch if you caught The Endless first, which works just as well.

However, if you’re looking for an easy play-by-play explanation of what goes down in the film, you’re not going to get it from Benson and Moorhead, who insist everything you need to solve the puzzles of their unconventional cinematic universe can be found right there on screen. However, the duo was more than happy to dive into the ideation behind the film’s mythology and the mindset behind ending it the way they did, so check out the interview below for a discussion of the different ways their “monster” is revealed through the characters and settings in the film, the ideas that helped inspire the unseen menace, and why the ending is more about character payoff than answering specific questions.

I know you guys have said you have this whole mythology totally down from top to tail. Was that something that you had already achieved at the time ofResolutionor did that come later?

JUSTIN BENSON: It’s definitely expanded.

AARON MOORHEAD: The rules didn’t change.

BENSON: But like withResolutionthere were … In both of these movies, there have been massive documents of things that people never see. And it’s really cool because we’re pretty sure people feel these things in the movie. The things that are into that. But like in the case ofResolution, for example. The unseen antagonist ofResolution, which is the same unseen antagonist inThe Endless, obviously. Except inResolution, the point of view of the whole film is from the unseen antagonist. There was like a massive document that went into everything about that “monster” that went to our sound designer to help them design the sound of the whole film. So that existed duringResolutionand there are things in that document that ended up more conspicuous inThe Endlessthan expanded upon. That’s just like one example of one thing.

When it comes to how nailed down the mythology is… Whenthe camera pulls back on that canyon and you see all those bubbles, the time prisons, would you be able to look at that shot and say exactly what’s happening in each one of them?

Image via Well Go USA

MOORHEAD: I can tell you how long those loops are, when they reset, and all of that. That exact area, we know it pretty well. And that’s desert, so there’s a whole bunch of poor animals. It’s probably something like that, but I wouldn’t say that we have an entire map of the world and who’s in it. But it wouldn’t be hard to theorize. We definitely have enough. So it would be pretty easy to take a good gander. And then, the little sequence that — the music trimmings for the montage that follows Justin and Aaron walking past the big totem and it’s in the sort of monolith carved monster looking thing.

BENSON: The rusty dragon sculpture.

MOORHEAD: And the rusty dragon sculpture. So those would all be individual loops that have developed their own sub-cultures and have their own interpretation of what this unseen antagonist is. Depending on how they saw it, the state of mind they’re in, and their own personalities, and all of that. And that these things they’ve created are artistic representations of how they see the antagonist. Whether they’re going specifically through the loop you see in the distance, because they do walk off, that we don’t know. And luckily, we only shot in 4K so you can’t really punch in. [Laughs]

BENSON: And what’s funny is … it’s weird how important that sequence was to us because in the movie we basically, the oldest loop that you ever see is what, 1800 something? Some kind of frontiersman like in a tent, but we have a non-existent Easter Island type subculture that developed its own kind of mythology around it. Clearly. And of course, Native Americans with the totem pole. But even the monolith to us — which is kind of the big image of the film anyways — to us. it’s supposed to scare the hell out of you when you realize that’s what that is. When you realize that, that’s the antagonist of the film as seen by people that are so ancient they’re gone in America.

In a similar vein, along with those monoliths I loved the ways we see this presence interpreted through the eyes of the characters in the film, like Lizzie’s art and Hal’s equation. What was your process of creating all these different understandings of this one being?

MOORHEAD: I mean, that’s something that did start with Resolution but it’s so small. It’s so small. It’s like literally there’s a journal running during the credits sequence of Resolution. It’s a bunch of monster sketches, and that would have been what the French researchers in Resolution were seeing it as. So that goes way back. I don’t even remember anymore what the inspiration for that was. Besides the fact that, unless you can get Giger, the guy who did Alien, unless you have a designer on that level to build a monster … We’re just trying to figure out ways that we can present it visually when we need to at least hint at something and not just show nothing, always. And in this case, we get to show it through sketches, and through sculptures, and things like that.

Image via Well Go USA

In the case of Spring, we showed a monster because the premise alluded to nature as being our designer. And since we don’t have our own Giger, we come up with these, hopefully interesting, clever ways to show an otherworldly being or “monster” and it won’t be really uneventful.

I mean if you wanted to pour a glass of wine, on a dark night and think about it. There’s this idea of every civilization has developed an idea of a deity and a God. And their interpretation of it has trickled down into our religions today. Or died out. But in the same way, their visualizations of it have looked so wildly different. And a lot of the time there’s the idea that … There’s two ideas. One is, what if it’s the same thing? What if they’re all the same thing? Of course, unified religion theory, which is kind of an idea that we play with. But we’re merging it with the idea of, what if wasn’t God? What if it was just a monster? Or what if people with porphyria were seen as vampires? You know, that kind of an idea where it’s like, “Oh, there’s nothing metaphysical about it.” Obviously, our movie’s metaphysical. But what if it was a natural phenomenon that people just tried to interpret as a god. And that’s a lot of what we’re talking about with this; they saw it as God and it’s actually just this thing.

BENSON: And as you saying that, I just remembered where it comes from. It comes from … This is a deep cut. There’s a guy named John Keel, who’s the guy who wrote The Mothman Prophecies. The book is very different from the movie. It’s not a fictional narrative. It’s sort of a journalist’s account of what happened in an area over a period of time. He wrote a whole collection of other books. The one that I’ve read is Our Haunted Planet and what it’s basically about is this concept of ultra-terrestrials.

I’m not saying it is an ultra-terrestrial in this movie, but the idea is that throughout human history whenever human beings saw something and interpreted it as being like, “Oh, I saw something. That was an angel from the bible.” Or, “That was a demon.” Or, “That was an extraterrestrial being.” “That was the Men in Black.” “That was the Mothman.” Whatever. That it’s actually always the same thing. In his case, he was arguing that it was this thing called an ultraterrestrial. That just basically, something that had been here among us, always manipulating the situation and everyone just seeing it differently depending on their culture. So it’s vaguely where the idea comes from. If you could imagine, there are so many species that we haven’t yet cataloged in the Amazon. Things like that. Imagine if there’s like an enormous blind spot that we just completely missed; one really big thing. Again, that’s not what’s in The Endless but it’s that idea.

I do have one very specific question. Are we meant to interpret at the end where we see the image of two cars coming into a collision, that it has anything to do with the car crash that put them there in the first place?

MOORHEAD: No.That’s an interesting one where we realized that was an unintentional thing. About 10% percent of people, they’ll kind of have that question of like, “Do they?”

When I watch Resolution andThe Endless back to back, something I had not picked up the first time was, they seem almost opposite ending moments. Resolution ends on a feeling of helplessness and being trapped and The Endless is all about breaking free. Was that intentionally designed for those two endings to be on opposite ends of the emotional spectrum?

MOORHEAD: Oh, that’s funny. I’m going to give you a yes and no. I think afterSpring, we got addicted to optimistic endings. I think we realized that we are just optimistic people and saying like, “You’re fucked no matter what” is just not our feeling about the way that life is, or at least the message that we want to put out into the world. And also, frankly, it more comes down to the construct of The Endless where, if you’re talking in really broad terms about the movie. If you’re talking about the fact that it says, “Break out of your cycle or be doomed to repeat history forever.” It seems like we should be showing what it looks like to break out of your cycle. And like, “Does that help you?” I don’t think it’s a moral as much as it’s an exploration of it. Because there are people that do enjoy it inside their cycle. I mean, the cult at the end. And you don’t even feel bad for them. A little bit, but it’s more melancholy. It’s like, “Oh. They kind of enjoy it there.” But I think that it would have been untruthful for ourselves if we’d ended it as dark as Resolution had ended.

BENSON: Yeah. It just seemed like we know, yes there is a very literal answer to the movie. And the answers in the film…It may take a few viewings, but everything’s very literal and all the evidence, if you want to call it that, is there. In terms of, where’s the movie ending in the sense of the supernatural, and otherworldly, and the sci-fi aspects, and all that.

But the thing that’s definite, that’s there, that was the most important to us, was just that you’d see that there was a transformation in the interpersonal relationship between these two brothers. And that you’d see that transformation in just a really understated gesture. And that the emotional satisfaction should come from that. I think anything else beyond that, we do things stylistically to kind of like poke the mystery part of people’s brains a little bit. One example is that it’s a hard cut going out. Things like that where just like you sit there and you go, “Oh, wait. There’s another piece of the puzzle to figure out.” To think about longer. It’s things like that. But there’s definitely one answer to the sci-fi part of it.

MOORHEAD: Actually going back to your questions, I just remembered when you said, “People who have viewed the movie multiple times.” There’s something that’s an interesting thing we’ve realizes. Our movies kind of exist in what people have called a Lynchian sort of universe where just things are a little off and all of that. I hadn’t seen almost any Lynch when that comparison started, but what’s interesting is, all of the answers to the movie are, I promise you, they’re in the movie. They are there. It’s not a dream logic situation. We’re not being deliberately obtuse. We just want to tell a mystery that’s got a lot of depth to it. And we just don’t want to lay it all out on the table but they’re in there. If you think about it long enough and hard enough. And you know, you might have to take a couple of, not leaps of logic but leaps of faith that like, “Okay. That is what they meant.” Something like that. But our movies are meant to be, I guess literal. That might be the word for it. They are meant to be telling a full story.

无尽，Endless。要怎么解释呢，是魔幻的Loop圈，还是残酷的现实人生。

关于神秘的cult组织

电影的背景是做着清洁工工作的兄弟二人，收到了一盒神秘的录像带——原来是是10年前他们曾经逃离的cult camp寄来的录像，向观众揭开了10年之前兄弟俩的“秘密”人生。

这种神秘组织的结构，乍看会让人联想到90年代中期日本的奥姆真理教。一群人，跑到穷乡僻壤的地方，脱离原来的“原生家庭”，建立起新的人生秩序。远离资本主义社会的分工制度，依靠简单的劳作技巧，在小团体中过着”朴素安稳“的生活。就如同电影里的一句话”It smells good“。

电影里的这个”世外桃源营地“，是电影主人公——哥哥Justin和弟弟Aaron（题外话，名字使用了演员的真名）10年前逃离的地方。10年前当哥哥带着年幼的弟弟离开营地时，还造成媒体的一时轰动，让这个营地瞬间”臭名昭著“，迅速被世人贴上了邪教的标签。10年过去了，兄弟两人的人生却并不尽如人意，事业上做着毫无意义可言的清洁工作，感情生活也常常因为曾经的”黑历史“而频频受挫。

此时收到的录像带，让弟弟Aaron提出要再回一次营地的念头。在Aaron的记忆力，camp充满了美好的回忆；而这些”美好“在哥哥Justin眼里都是被distorted过的，那是他10年前奋进全力挣脱的牢笼。然而为了能让弟弟重振生活动力，Justin答应了”故地重游“的提议。

Cult组织的核心leader又是谁呢？是营地所有人都在追求的Higher Power。就是这个Unknown的Higher Power，让这里的人如同手足一般的生活，哦不，是比兄弟手足更加祥和的生活状态。这里仿佛不存在“私欲”，不存在“占有”，所有人都在寻找或是等待Higher Power的指令，仿佛那里有着最高的智慧，指向幸福的生活。

对了，在神秘的cult圈，某些概念会有他们自己的定义。自杀不是suicide,而是ascention，很妙吧。此处省去1000字……

关于loop圈

就当观众开始以为导演要讨论邪教的时候，故事峰回路转，天空出现了两个月亮。

”这不是村上春树的1Q84吗？”心理无数的疑问划过。1Q84谈的也是邪教，也出现过跨越时空的“界域”，最关键的是，1Q84的世界就有两个月亮。

当我以为导演偷懒偷故事的时候，两个月亮变成了三个月亮。更神奇的是，还出现了类似于Tim Burton佩小姐的奇幻城堡里的Loop 圈。更为复杂的，这里的Loop的界限有些是人为创造的，而有的如同上文的cult组织，任由一个Higher Power来决定第三个月亮到来的时间，也就是Loop的界域。

电影从此走向超现实魔幻题材，一扫开始的文艺腔，取而代之的是上吊的惨白面孔，爆裂的血浆，和不停返回起点的时钟。当观众也开始在电影中迷路时，导演稍稍给了我们一点暗示。那些自主性选择自杀的人们，他们有着更贴近人类的气息。他们会暴怒，会嘲讽，会感叹，会无奈，这是与之前的营地组织成员最大的不同。那些逃不出loop圈的人，他们的生活虽然不可避免地重复，但是他们却坚持要用自己的双手为这个轮回的时空划出界限。

相反地，营地组织的成员则是等待第三个月亮月圆之时，大家围成了一圈，等待higher power的“解救”。

关于兄弟恩怨

当然了，此时的弟弟Aaron还是执着地要回到营地生活。在他看来回到现实生活也是每天的死循环，也是毫无意义的生活。当你感叹，哎呦，弟弟怎么活得那么悲观啊，恭喜你，你已经摸到了导演想要表达的核心了。

从文艺片走到惊悚片，再到科幻片，导演终于要拍醒观众，慢慢把把故事主旨抛出了。

当他们第三次走回营地，第三只月亮已经满月了。营地里人去楼空，兄弟二人走入了那个一直被封锁的屋子，里面不是怪兽也不是被囚禁的成员，而是满眼的录像带，记录了营地一切的录像带。他们看到了营地成员走向毁灭的最后一刻。整个营地都被那个Higher Power撕毁，兄弟二人出于求生本能火速驱车逃离。

然后导演在这里设置了一个小trick。车子发动不起来了，哥哥一如往常要坚持做点火发车的那个人，弟弟却说让自己来试试，此时此刻，哥哥Justin在危急时刻和弟弟调换了位置（哇，导演这个转变真的有点突如其来啊）。最终弟弟对哥哥”深情告白“后（可能感动了上苍了吧，或者感动了编剧），车子发动了……然后结局么，就是成功回到了现实人生。

此时我才突然恍然大悟，弟弟为什么会对人生那么悲观（虽然悲观主义者很有可能是天生的）。弟弟Aaron人生的所有决定都是Justin’s choice，而不是Aaron‘s choice。对于弟弟而言，他人生的一切都是哥哥帮他决定的，从10年前的逃离营地，到后来的清洁工工作，Aaron 的人生不可承受之轻便来自于这种人生的被动性。当你的人生都是别人帮你选择的时候，你当然会把责任都推到对方头上，代偿便是你永远无法体会人生真正的动力。

当方向盘不在自己手上，你当然很难有动力去相信沙漠会变成绿洲，你只会怪那个开车的人是白痴，毁了自己的旅程。哥哥呀，Loop圈和三个月亮都是幌子，我要的是My Choice啊。

每个人都活在自己的轮回里，不管你是否意识到……

看到70分钟左右的时候，我暂停了，猜测剧情往下会怎么走。后面的克苏鲁神话对我来说有些不过瘾，我更愿意看到哥哥带着弟弟走出“邪教”团体，但是在弟弟的反抗下意识到，即使离开了集体生活，自己奋力逃出了一个围城，自我感觉获得的无限可能也只是另一种轮回，可是哥哥会让年轻的弟弟明白自己为什么离开集体生活的选择，因为自由给了你无限可能的同时，也要求你自己去做努力，去寻找并实现自我价值。哥哥愿意在这种自由状态下接受现实中投靠无门、难有立锥之地的困境中轮回，也不愿意交换不知道有何用的权利来换取有保障的生活，这是为人者的尊严，是我们精神独立，人格完全的操守。

愿我们有一个机会做出这样的选择。

每个人都有自己的轮回，或短或长。在自己的轮回里挑选自己应对轮回的姿态，尽量有尊严的活着。如果有机会跳出这个轮回，跳出去看一下，或许在这个过程中才会发现什么才是对自己最重要的事。建议一直困在公司格子间的同仁能够出离一下，审视自己生活的轮回，愿你感受到得不只有悲哀。

从前有两个亲兄弟，弟弟比较任性，哥哥比较懂事。在他们还小的时候，有一天妈妈带他们去城里玩，路过某地的时候出了车祸，这时候正巧路过一个大叔，大叔砸碎了车窗玻璃，奋力救出了兄弟二人，可惜的是救出兄弟二人的时候母亲已被大火活活烧死，大叔领着两个孩子来到了自己的营地。

月亮升起的时候，营地里所有的人围着篝火坐在一起，哥哥安慰着失去母亲的弟弟，大叔了解到兄弟二人是母亲一手拉扯大的，两兄弟已经无亲无故，好心的大叔收养了两个孩子。其实营地周围整个区域都有着不可思议的力量，这片土地的每个人都被困在了自己的轮回圈里，有的人轮回几分钟，有的人轮回几个小时，有的人轮回几天，大叔常说每个人都有自己疑惑，别人是无法帮助解开的，答案只能靠自己寻找，大叔没有告诉两兄弟关于轮回的事情。营地里每个人都知道轮回死亡又重生的循环，大叔其实是个崇尚科学的人，他的家里有一道一直没能解开的方程式，就像营地里的循环是他无法解开的谜，他觉得这是一种无法用肉眼看到的存在，最后他只好创造了某种信仰，每当轮回快结束的时候，大家就会举行某种仪式，一百万个小时可以领悟一种特长，无限轮回的营地有着无限的一百万个小时，所以营地里每个人都有自己精通的特长。

营地里的人都挺不错，有个擅长设计衣服大姐姐对弟弟特别的好，眼看三个圆月又要再次出现，又是一次轮回吧，可是那天兄弟二人却不见了，原来两人想念母亲，画了一副画带到了出车祸的地方纪念母亲，兄弟二人回到营地的时候迷了路，越走越远，如果说营地是轮回一号圈，那么出车祸的地方就是二号圈，兄弟两人误打误撞绕出了轮回的圈子，最后又误打误撞回到了营地，这时候营地已经轮回结束，开始新的一轮循环，做衣服大姐姐看着弟弟觉得很惊讶，竟然有人逃出了轮回，或许是年纪太小，不被虚幻所迷惑吧，哥哥发觉大姐姐看弟弟的眼神有异样，心里觉得大姐姐可能是恋童癖吧。

时间慢慢的过去了，三个圆月又再次出现了，营地开始准备仪式，有天哥哥拍照回家的路上遇到了经常出现在营地周围的怪人，怪人总是在营地周围走来走去，一言不发，可是今天他堵住了回家的哥哥，他让他快跑，因为这里一切都在轮回，哥哥没有当真，可是心里却留意着营地发生的事情，他发现营地举行的怪异仪式可能是要让他们一起自杀殉道，这是一个邪教!于他告诉弟弟这里的人将集体自杀，再不跑就没机会了，于是他领着弟弟跑出了营地，再一次的逃过了轮回。

兄弟两人自小在营地长大，这也注定了他们知识方面的匮乏，所以他们只能做着社会最低等的工作，拿着微薄的收入糊口，弟弟已经快熬不下去了，毕竟他已经习惯了营地的生活，某个早晨弟弟收到了一盘磁带，弟弟拿着给车装电池的钱，买了录像机，磁带是关于营地的类容，弟弟惊讶的发现营地里的人竟然没有自杀，其实弟弟不知道每个在营地里待过的人都会收到磁带，比如后来哥哥在湖底找到的磁带，自杀了一次又一次的人从地里挖出的磁带，营地里某个房子里更是摆满了磁带，其实磁带里的内容也正是每个人寻找的答案，弟弟的磁带答案是营地里的人没有自杀，哥哥磁带的答案是营地里的人确实是邪教，自杀者的答案是这种自杀方式无法逃脱轮回，最终弟弟劝哥哥回到了营地，路上的时候哥哥发现路的两头竟然有相同的景色，哥哥看出了轮回的端倪，年幼出车祸的地方，那幅画竟然纤尘不染，其实也是一个轮回圈，在轮回圈里发生过的事情，离开轮回圈之后，记忆会渐渐模糊，所以兄弟二人已经忘记画的事情，回到营地的时候，大家很热情的欢迎了兄弟二人，并没有责怪的意思，大叔还是以前的样子呢，营地又来了许多新人，哥哥答应弟弟住上一晚上，晚上的时候哥哥认识了一个出门寻找丈夫的女子，她告诉哥哥自己已经在这里待了很久，至今也未能找到丈夫。后来弟弟打算永远留在营地，两人吵了一架之后，哥哥决定独自离开，路上哥哥遇到当年劝他离开的怪人，怪人刚刚自缢结束，怪人把轮回的时事情告诉了哥哥，怪人知道走出轮回的路，他要求哥哥帮他取一把枪过来，取枪的时候，哥哥来到另外一个轮回圈，原来这里是一个好朋友为了帮另外一个朋友戒毒而误入了轮回圈，他们和营地的人不同，他们通过自杀的方式来找到逃离轮回的办法，没有毒瘾的男人告诉哥哥其实他很想念自己老婆孩子，分别的时候哥哥叫住了男人，他心想营地里找丈夫的女人可能就是他老婆吧，但是哥哥没忍心告诉他，因为他没办法逃出自己的轮回圈。吵完架的弟弟和营地里的人围坐在篝火旁，会酿酒的胡子大叔叫住了好心的大叔去一旁说话，他告诉大叔应该告诉弟弟事情的真相，而好心的大叔觉得他们兄弟两是属于这里的，两人发生了争执，最后胡子大叔告诉弟弟他因该遵从自己的内心，弟弟渐渐也发现营地的异样，他询问善良大叔，大叔没有给他答案，弟弟决定去找哥哥，弟弟路过好心姐姐家，他离去的时候，好心的姐姐笑中带哀的向他挥手告别，弟弟最后找到了哥哥，弟弟告诉哥哥他和好心的姐姐同床了，但是没有啪啪啪，哥哥听懵逼了，我也看懵逼了，是不是因为他们小时候确实经历了割礼，所以没有冲动，这点我也不清楚。

兄弟二人回到了营地，营地里的人都消失不见了，这晚三圆月同现于天，通过磁带回放，两人发现营地里的人都围坐在篝火旁，天上降下一根麻绳，麻绳仿佛巨蛇般摆动，每个篝火旁被击中的人都消失不见，只剩破碎的衣物，兄弟两急忙跑到车旁，因为没了电池，车子启动不了，哥哥在一旁使劲推着车，弟弟点着火，在最绝望的时候，车子竟然启动了，他们已经来到了轮回的边缘，许多乌鸦撞死在了那里，两兄弟闭着眼睛冲向了无形的墙，有时候你以为是死，却实际是生，终于两兄弟逃出了营地轮回圈，或许再慢一秒他们就会被永远困在里面，营地里轮回已经重新开始，大叔看着渐行渐远的兄弟两，脸上有了微笑，毕竟兄弟两是他带大的，看着他们能逃出轮回，大叔还是很开心的。

不过兄弟两真的逃出轮回了吗？也许他们只是逃到了另外一个更大，持续时间更久的轮回圈，开始了新的一段轮回！生活本身是一场永无止境的轮回，拿星爷的话来说就是吃喝拉撒睡大觉，如此反复不亦乐乎，无穷又无尽啊！《无尽》的结尾处哥哥把方向盘让给了弟弟，这时候哥哥是信任弟弟的，弟弟在整部电影里第一次做出了改变，他说他要离开这里，也就是逃离营地，其实逃离的也是尘世里重复又重复的每一天，既然他已经做出了改变，紧握在手里的方向盘也就是改变命运的武器，撞破的无形墙也就是限制命运的枷锁，最后蝴蝶效应引发未来产生变化，也就不会再出现片头那段怀念营地日子又回来的念头，所以他们兄弟两其实逃出营地了，至少我是这么认为的。补充一点，其实片头他们虽然身处外地，但是确实是在轮回，电影开始的时候男主角收到一盘磁带，男主以为是营地女主寄给她的，后来女主否认，片里轮回有种相似点 ，那就是轮回的人会收到一盘磁带，而且这个磁带往往能给当事人解惑，这个磁带哪里来的呢？我想应该是营地里那个制造轮回的神秘存在做出来的，和天上掉照片一样，片头男主角一直疑惑着营地里的人有没有自杀，所以他收到了那盘磁带，并且磁带引诱男主回营地，于是轮回开始！

谢谢你看完我的解析。

人类最古老、最强烈的感情是恐惧，而最古老、最强烈的恐惧，是对未知的恐惧。不愧是哥俩的自编自导自演，剧情的展开和推进，非常的顺畅，剪辑手法到位，饱满的剧情与角色，哥俩的表现也很不错。这让我想起了逃出绝命镇和仲夏夜惊魂，习以为常的日常中的异常，在平缓的和谐氛围中又透露着一丝丝的诡谲，在一丝丝的深入骨髓，一丝丝的勾引着你。而主角那种带有克制的质疑与不适感，真的很符合这凝滞的气氛，细细琐琐的线索，引导着剧情前进，擦拭着层层的迷雾。渐渐地，异常，变得愈多愈明显，迷者愈迷，疑者愈疑。迷雾中的端倪，朦朦胧胧，但是，没有那种矫情的故弄玄虚。吻合克苏鲁的一切，迷雾一样，梦幻一般，高维不可具象化，这就是克苏鲁，用抽象的罗夏墨迹来形容克苏鲁，怪贴切的，相比星之彩，这部更加深沉含蓄与耐人寻味。最后也终于理解了，没有所谓邪教，没有对错与恶意，只是在无尽的轮回中的，失去意义的无趣，眼底的深哀与苦中作乐，以及仍不忘给你的善良与忠告。饱含哲理的话语，那一幕相隔的轻轻一挥，伫立火中不屈的身影，其中味道万千。而果然，与开头相呼应，朋友之间会相对频繁的向彼此倾诉自己的感情，而兄弟姐妹则会等待一个更为方便的时机，比如临终之前。兄弟俩再次定义了彼此，逃出生天，伴随着成员们眼中的期盼与安静的转身，而转身后，面对成员们的又是无尽的轮回。现实中的你，面对虚幻时，你会怎样选择呢，瞬间与漫长，你会怎样选择呢，这样不可逆的选择，会心动吗，会后悔吗。该作对于时空以及克苏鲁的描绘，伴以演员们出彩的表现，相当生动令人印象深刻，这无尽时空轮回，对比着现实中历史的不可逆，发人深思，这直到死亡的日复一日，也是重复的轮回吗，你也在苦中作乐吗，你充满希望还是无奈呢，抗争还是屈服呢，我们的生活中，存在深渊吗，深渊是什么呢，我们深陷其中无法挣脱吗，也许，答案就像那未解的方程式吧，哈哈哈。深渊，一直在凝视着你