重庆文理学院学报(社会科学版)

万玛才旦被视为电影哲学家、艺术家，所执导的藏地电影带有鲜明的艺术特征和浓厚的哲学思辨意味。其子久美成列是青年藏族导演的代表，首部院线电影《一个和四个》在延续父辈聚焦生态伦理、突显反思性与批判性特征的基础上，大胆借用悬疑推理电影的类型化叙事策略，拓展了藏地电影的生态叙事范式。具体来说，作品通过四位“不可靠叙述者”巧妙建构起“设谜—搜证—解谜”的层级化叙事结构，模糊了类型电影与心智游戏的边界，为审美主体带来层次丰富的观影体验。在保持生态伦理底色和创新叙事手段方面，久美成列做到了较好的平衡，为当下藏地的影像实践开辟出一条商业化、类型化的发展路径。

Pema Tseden is regarded as a film philosopher and artist, and the Tibetan region films directed by him have distinct artistic characteristics and deeply philosophical implication. His son Jigme Trinley is a representative of young Tibetan directors. The first theatrical film One and Four, on the basis of continuing his father's works focusing on ecological ethics and highlighting reflective and critical features, boldly uses the genre narrative strategy of mystery films and expands the ecological narrative paradigm of Tibetan region films. Specifically, the film constructs a hierarchical narrative structure of “creating puzzles-collecting evidence-solving puzzles” through four unreliable narrators, which blurs the boundary between genre films and mind games, and brings a rich viewing experience for aesthetic subjects. Moreover, the film achieves a good balance in maintaining the bioethical background and innovative narrative means, and opens up a commercial and typified development path for the current Tibetan region films.