　　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.

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“難以置信的事實”[Film Review] The Unbelievable Truth (1989) 7.0/10

Hal Hartley的處女作像一部短篇小說，里面充塞著古怪而可愛的角色，用美式英語說著冷幽默般的臺詞。多次出現的黑屏和大號體字幕讓我恍如在閱讀一本有聲有色的影像圖書。故事情節也夠簡單的，性格南轅北轍的男女主角莫名其妙地彼此戀上。如此浪漫喜劇卻在導演的手中卻煥發出一股極其古怪的味道：殺人犯、末日降臨、裸體模特、華盛頓總統……現實情節中竟不自覺流露出一絲荒誕的詩意，尤其每當女主角說聽到什么聲音時，整個氣氛和格調頓時變得奇異。影片那個完全開放式的結尾更是讓我印象深刻。

從來不缺少隨波逐浪的男男女女，他們以醉生夢死回應世界的空洞，而奧德莉為什么如此迷人呢？或許因為她的虛無不來自某種傷痕，也不因虛無而縱欲，這是無頭蠅和蜻蜓的分別。
作者為奧德莉設計了一套以重復為母題的音效系統，輔助營造影片整體的虛無感，首先是為餐桌上喋喋喋喋不不休休的父母問話，以及約書亞講解汽車某個零件功能時臺詞的所做的回聲效果，內容無關緊要，被強調的是說話人和奧德莉的關系：只要我喜歡/不喜歡你，你說什么那都不重要

New York kooky indie-moviemaker Hal Hartley’s feature debut, THE UNBELIEVABLE TRUTH tantalizes a somewhat morbid idea that can a reformed manslaughter-convicted ex-con gets a second chance in his hometown where the crime was perpetrated? Freshly out of prison, Josh (Burke) returns to Long Island where his felony has been disproportionately mythologized, he impresses auto-repair shop owner Vic Hugo (Cooke, enjoy some unorthodox outpourings that are rarely seen in a materia