[satyamev jayate」意为“真理战胜一切"，这句话写在印度国徽上，是印度的座右铭。宝莱坞电影巨星阿米尔汗历时两年，打造出这一关注社会、贴近民众、深层次揭露社会问题的节目。他采访不同阶层印度人的真实故事,大胆曝光印度社会种种弊病,力图以残酷真相打动和唤醒大众,进 而努力改变现状、治愈丑陋伤疤。
Episode 1: Fighting Rape 对抗强暴
The first episode of Satyamev Jayate Season 2, telecast on March 2, 2014, dealt with the issue of rape and underlined several systemic factors that act as roadblocks on the path to justice for survivors.
The Vote for Change campaign for this episode centred around three focal points:
The setting up of One-Stop Crisis Centres in every district of India as per the guidelines recommended by the Justice Usha Mehra Commission.
The creation of Vulnerable Witness Deposition Courtrooms across the country.
A gender-sensitive, scientific and humane protocol for the medical examination of survivors of rape, to be uniformly implemented across the country.
Episode 2: Police 警察
On March 9, 2014, the second episode was telecast and it dealt with the need for reforms in the police. In 21st century India, the system of policing is still by and large within the framework of the 1861 Police Act introduced during the colonial British Raj. The police continues to be a ruler’s police rather than a people’s police.
The Vote for Change campaign for this episode urged citizens to support the demand that the 2006 judgment of the Supreme Court in the case filed by former DGP, UP, Shri Prakash Singh be implemented and a people-friendly police force be created.
Episode 3: Don’t Waste Your Garbage 不要看浪费你的垃圾
The third episode of Satyamev Jayate, telecast on March 16, 2014, dealt with one of the most shameful problems persisting in our cities and towns, viz: garbage and the scandalous state of solid waste management.
The Vote for Change campaign for this episode called upon people to support the demand that incinerator technology for burning waste be opposed and that state governments and union territories work towards implementing the Municipal Solid Wastes (Management and Handling) Rules, 2000.
Episode 4: Kings Every Day 我自君王，每日
Telecast on March 23, 2014, the fourth episode dealt with the need for strengthening grassroots democracy and in particular, highlighted important measures to help fight corruption and increase public participation in governance.
The Vote for Change campaign for this episode urged citizens to lend their support to the demand for social audits of the government’s expenditure on social welfare, and the passing of the Public Services Grievances Bill which will help ensure that essential services are delivered in a time-bound manner to citizens.
Episode 5: Criminalization of Politics 政策犯罪
Satyamev Jayate’s fifth episode, telecast on March 30 2014, dealt with the rampant criminalization of politics in our country.
The Vote for Change campaign for this episode called upon people to support the demand that the proposal of the Election Commission to debar candidates with serious criminal charges (with appropriate safeguards) is brought into effect and such candidates are not allowed to contest elections.
Just came out of my meeting with Honorable Prime Minister of India Shree Narendra Modiji. Was very kind of him to spare his valuable time.
— Aamir Khan (@aamir_khan) June 23, 2014
Shared with him the overwhelming support that we got from people across the country through Vote for Change Campaign...
— Aamir Khan (@aamir_khan) June 23, 2014
..on SMJ on the various issues that we tackled in our show. He has assured me that he will look into all the matters pic.twitter.com/AI7e8cX9Bn
— Aamir Khan (@aamir_khan) June 23, 2014
http://www.satyamevjayate.in/petitions-reach-topm.aspx
三段不同视角的叙事，虽有差异，但都有些流水账，张力不足。最后的高潮成功将张力牵到最大——因为两位男性的血腥厮杀，只关乎自己的利益与荣耀，和真相无关，和那个女人无关，但她却又只能为这场荒唐的决斗，赌上自己的性命和未来。何其讽刺，何其悲哀……
我就想说怎么那么多剧场版。但是剧情那么熟悉。难道我把漫画自己脑补了吗。原来本身就是动画合集啊。
实大失所望，经典女性题材电影，跟热点赚尽口碑，罗生门式的叙述女闺蜜的告密岳母的自白和恶心中世纪法庭的宗教审问更是惊起一片巨涛，但在盛行宫廷之爱的中世纪政治婚姻的冷漠其实不论男女都心知肚明，谁又不是互相利用和相互附庸，作为战争资源为最价值的冷兵器时代自然是男性权利的鼎盛，但女主最大原罪绝不是性别而是没有强硬家族后台反之男性也可能没权利，这便是本片致命漏洞偷梁换柱，只是以中古之名行输出意识形态之实并没有深入到时代问题还不如老实拍个现代题材，本以为还会深入探讨人性但都戛然而止实令人遗憾，且角色太过脸谱根本没啥深挖价值，亚当本在星战时就觉难堪大任，结果本片还是万人迷故作忧郁的演技更是令人不快，虽雷的服道化依然精彩，但尤其片尾夫死妇荣的挑拨之词真是其心可诛，假意奉迎也不过是利用话题消费女性利己而已。
【B】一种被精致包装过后的极致庸俗，老雷最终用一部“反叛精神”十足的电影去推翻自己曾经创造的史诗大片，稳健的背后却是老气横秋。分章节，多视角，罗生门，却在最后一幕里告诉观众这是不容置疑的“the truth”，好莱坞下的收敛与软弱，却也是更被观众所接受的稳健。然后在精巧结构和控诉文本下，雷德利的庸俗视听基本宣告影片的破功，视听手段与影像质感都在退化，直到最后半小时的决斗才终于找回“好莱坞一流名导”的底气，却为时已晚。当然，这份控诉和对题材颠覆的决心仍然值得尊敬。
本想说三段式的结构推进高明有趣，结果看完了觉得大可不必。
天翻地，日月更，阴阳殊途，数十载一眼忘川，换了人间。
#7月纽约点映 看完最大的感想可能就是片中出现的一段引句了吧 新戏从来演旧事 周而复始话沧桑 还有一个词 就是魔幻 导演用了很多虚实之间的拍摄手法让观众一瞥人生如戏的极致感受 尤其是在观察电影当中每一段时间的海报绘画制作的变化时 都会觉得唏嘘不已 艺术到底是什么？是一份穷人的行当 一个表达政治意识的工具 还是一份责任/又或是艺术家的人生使命 每一段时间艺术在中国所具有的特殊含义 感觉导演都以极具张力的方式表达了出来
还好她丈夫战死了，她才得以幸福富裕地度过余生。男权的赤裸并不需要再次被发现，但女性的成就值得被凸显。
精湛！非竞赛比主竞赛好看系列，以马代人，真相和谎言穿插，夺人也是夺人心，给雷爵士五星好评！
一幅横向移动的卷轴 #MoMI screening
感谢法国让导演有钱拍完，让观众能看到。非常个性化，手绘的背景，默片的节奏，远景的乐山城，剧院茶馆，历史对人的摆弄，人对苦难的冷漠，中国人过去几十年的一出戏，现在看来，仍然是永无宁日。演员也灵，四川话如流水，灵动。@Anthology
大失所望。不敢相信雷公居然用自己曾创造无限辉煌的历史题材和女性主题拍出来这样一部电影。
挺特别的一次观影体验，想到门德斯的话剧《雷曼兄弟三部曲》，很多纯平的光影很有感觉，可惜并不统一。想知道用了多少箱烟饼，20箱应该有
叹人生，最难欢聚易离别。颠沛流离起起落落的一辈子，小人物也有自己的金榜题名，洞房花烛，他乡遇故知。
完全能想象出呆萌和大本写剧本时满脸自鸣得意的表情。雷公你清醒点，你可是几十年前就拍了末路狂花的男人，咋就被这俩占尽了便宜的中年白男给唬住了。男人的尊严是演给别人看的，性是侵略的手段，谁不知道女性自古至今都是支配性男性气质的牺牲品？有必要怒砸一亿，把入门级性别理论在中世纪搬演了一遍，煞有介事整这出既无悬念烟雾弹，也谈不上补充了啥视角的三段叙事？
开场与末场的决斗，看两个男人骑马入场时的心境在中间三个章节的叙述后截然不同。
罗生门打斗场面虽多却无真正的戏剧高潮，因为它们被散布在四个故事的转述中，讲述者又对当事人并无好感特别是樵夫版本。平行结构、主观好恶，配合演员夸张喜趣的间离自嘲，共同遏制了决斗推向高潮。黑泽明对于主题导向情绪基调和角色道德定位的把控是高度统一精准无误的。反观决斗者。导演不甘心完全照搬结构，为配合史实砍掉了旁人转述，更单独拔升涉事女性到捍卫尊严追求真相而不惜自我牺牲的高光面，使原本各说各话的平行结构产生大幅倾斜，情绪基调也由此而从罗生门拐扬向了角斗士！可问题是，俩渣男银幕上叮叮咣咣十多分钟你想让观众如何情绪立场？彻底移情达蒙的角色吗？已被其妻痛斥为伪君子；或，两造双方都挺荒谬可笑？可分明还在照搬角斗士的写实残酷，何况达蒙德弗莱受限于好莱坞表演体系无法像三船森雅之那样通过东方喜趣夸张风格自揭丑陋！
周而复始话沧桑
中国特色超现实主义 历史的大幕落下 一个个人生 一个个政党 一个个时代 循环往复 周而复始（今天Anthology空调坏了 所有人都拿着宣传册扇着风看 颇有回到小时候看露天剧院的感觉 很奇妙）
补个分，看这段的时候真的有股很强的即视感，在外务工的丈夫跟家里断了联系，背着孩子的妻子去城中寻找丈夫，却发现丈夫已经另组家庭。
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