Fine suffers from not being seen but she also does her best at not being noticed, even though she is an acting student. At night, when her mentally handicapped sister Jule cannot get to sleep and stereotypically bangs her head against the wall, Fine turns the recorder on and gives a firework of singing, acting and dancing. However in the acting school she lacks self confidence to uninhibitedly storm the stage. After the well known director Kasper Friedemann invites Fine for an audition, she convinces him with her acting. But he also sees in Fine an injured being (vulnerable personality) that matches his vision of Camille, the main character in his next play. Fine gets her first big part that she in no way wants to lose. She slips into another identity. As Camille, she awakens to her femininity, but through Camille, Fine also loses her own strengths that she shows every day in dealing with her sister Jule. Because Camille is not only self-conscious and sexually active but at the same time mentally fragile and self-destructive. Fine puts herself in the hands of her director who lets her go through hell without psychologically rescuing her. A dangerous game in which she becomes her own enemy. 生而残缺对不起。这是一场心理治疗。角色的背后。壳与裂缝。从《黑天鹅》再到《壳中裂缝》,演员入戏太深会有怎样的下场?。写啥写啊。她被洗脑,被骗炮,最终差点杀了自己……。短评。真假谁能看透。心理学角度分析家庭的重要性。 范恩(斯婷·费舍尔·克里斯滕森 Stine Fischer Christensen 饰)怎么都想不到,自己竟然会成为大导演弗里德曼(乌尔里希·诺登 Ulrich Noethen 饰)眼中的缪斯,弗里德曼将她钦点为下一部戏的最佳女主角,并且在她的身上赋予了极大的热情。 在戏中,范恩扮演了一个个性热情奔放的性情女子,可是生活中的范恩性格却正与此相反。为了达到更好的演出效果,弗里德曼开始用各种各样过激的手段刺激范恩的精神,迫使她打开心扉。这样的刺激很快就显现出了效果,改变后的范恩也因此找到了自己的如意郎君。但对于范恩的母亲来说,性情宛如陌生人一般的女儿带给她的只有痛苦和伤悲。面对自己逐渐失控的精神领域,范恩无能为力。