Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.
Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)
As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.
The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).
Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
其实很多地方的泪点都已经预料到了，但是真的来的时候还是没有忍住眼泪
很有意义的电影，了解了藏区风情和支教的不容易，原来还有那么多孩子渴望学习却又那么难
这个影片，10分的话我给9分，没别的，就冲着这么感人的一个题材，编剧写的处处是悲剧。真想给编剧寄刀片。
曾经我也有一颗梦想的心啊，但是被现实打击的粉碎，但这并不妨碍我佩服成功的人，努力，拼搏，加油，然后成功！
我们的生命是有限的，有限的生命里最好的增长阅历的方式就是看电影和读书，一本书也需要读很久，但是一场电影短短的几个小时就能让我体会到人生百态，感谢藏青让我体会到了藏区的人生百态
看得出经费一般了，不过幸好有天然的藏区风景，算是弥补了一下
支教真的很辛苦很难，老师太不容易了，师生情谊和爱情都自然又含蓄，看起来太舒服了！
那几个假巡山员实在太可恶了，看了心里揪的慌，太气人了
成年人的世界，天黑可以矫情，天亮就得拼命。岁月不会一直安逸，无论你当下经历了什么，天亮以后依然踏着棘刺前行，没有人谁容易，都在为了生活拼命奔跑
服装疯狂看着挺舒服，剧情不评价，在同类型里也算比较平常
90年代初，一个名叫韩松的大学刚毕业就选择到藏区支教的老师，从北京怀揣一颗青春躁动的心，来到偏远的草原上一所藏区小学，与一群藏区孩子们发生的生活，学习与成长的故事。
在自己身上可能都没有那么伟大，为了藏区孩子奉献自己的一生，现实生活中应该也是有原型的吧？
格桑梅朵的性格感觉比韩老师更加的坚强和坚毅，可能是藏区姑娘的关系吧，觉得男主角的性格有点弱化了
没有去支教，但是当初我也是一个怀着梦想的人，也曾大城市的灯火阑珊感到惊奇，最后走马观花，因为囊中羞涩而感到生活的迷茫，现如今，只有活着，生活并没有那么如意
很喜欢he的剧情，说实话，这样的结尾看似圆满，但我还是觉得有点接受不了。所有人都在一起才是圆满
欲望和虚妄（它们同拼）
喜欢电影里大家一起吃东西的场景，艰苦但是温馨，特别是孩子们吃的太香了，可爱又心酸
推荐看的这部电影，没想到这么感人，好几次都落下眼泪了，给四星因为最后男主死了
干电影行业这么多年，第一次看到零差评的电影
虽然没拍出特别的东西，但被质朴纯真的感情打动，无论支教多久，都会成为人生中难忘的经历
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