The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R.
花钱买来看的当然四分 两女主颜值很高 刻板的青少年拉拉懵懂的感情 一下子让人回到少年时代（那时候我也并没有弯）
大概只有姬佬才能拍出这样的片子 隐晦的推拉真的很爱
“You should have been there.”
🚙处握手和背对处温柔无比
说不好，怪怪的，挺好看，感觉有的地方和罗马的房间 同心难改有丶像
虽然但是…..不要爱上侄女….要去结婚的拉子也不行❌
妈呀 最后的人妻造型更好磕了 一些背德文学…
“地球的规则 性别的沟壑，只要你爱我 我就能跨过。”
3.5 Jaime掉进了一个荒谬的故事里，荒谬的故事里人人讲着另一个更荒谬的故事，是集体主义对个人的侵犯 是偶像崇拜的高潮。
电影院卫生间那个scene真的hold my breath
这次的女本子伤痛青春悲剧的锅宗教不想背呢，我宣布女主是继赞姐后我的第二个梦中情t！Jaime是我今年冬天的穿搭模范了。
姐们儿姐们儿，赶紧把主演名字给我！ 我痛苦，我抑郁，我沉默。 这条路绕不回来了
我对结尾的理解是，宗教不能救赎人，但是爱可以。我可太爱Jaime的颜了🥺
很意外的一部电影，氛围感好好，牵手跟不牵手那里让我也跟着七上八下
拍的很好，尤其女主被姑父/姨夫发现后的紧张，简直太真实了……
宗教是男权的衍生品，所谓的"异性恋"都不过是教徒。单女、女同都是不尊重"正统"的异教徒，只会被除名，被驱逐。不过还好，姐是女同，管它天堂地狱，自由在手，青春永驻。
可是对我来说
一个关于真理教的少女爱上世俗女孩，最后依旧桥归桥路归路的故事。只能说情情爱爱，身处其中的时候也很真诚热烈，但是离了它也不是不能活。全片最精彩的对话就是“I don't believe it.”“I believe enough for both of us.”全年最佳不至于，但是也还不错。PS:女主好像Rose Leslie和Kate Mara的结合体，但是演技比她俩都好。
非常非常出乎意外！
这部剧让我总是浮现高中时组建一支辩论队去征战全省最强辩论队的春天。
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