鲁本·奥斯特伦德凭借《方形》和《悲情三角》分获第 70 届、75 届戛纳电 影节金棕榈大奖，成为历史上最年轻的“双金棕榈”导演，跻身瑞典导演大师之 列。他将影像作为社会现实的延伸，凭借犀利的社会视角、尖刻的批判话语和独 特的北欧式黑色幽默，讲述瑞典社会的困境和人在其中无法消弭的道德焦虑，完 成了哲学实验与当代电影语言的完美融合，在际影坛获得了广泛瞩目。纵观奥 斯特伦德的影像作品，“脆弱性”一词近乎其电影叙事核心和美学实践的高度概 括，因此，本文着眼于电影中的“脆弱性”表达，分为四个部分进行探讨和论述。

第一部分是文化的整体脆弱性，在绪论部分对“脆弱性”进行概念界定和研 究梳理后，探讨本文所论述的“脆弱性”的文化土壤——斯堪的纳维亚半岛、瑞 典福利家和“北欧模式”的核心概念;随后回归到瑞典电影史，探讨鲁本·奥 斯特伦德对瑞典电影传统和欧洲电影大师的致敬、继承与革新，并以具体影片为 案例，详细阐述其影像如何呈现“关于人类困境的社会实验”。

第二部分以奥斯特伦德电影中的情感和“关系美学”作为切入点，分别从家 庭共同体、冷亲密关系、同行与陌路三个维度出发，探讨奥斯特伦德如何在其电 影中构建“脆弱性”的社会关系和情感联结，及其在北欧语境与情感资本主义下 对人际关系与情感关系的深刻思考。

第三部分着眼于奥斯特伦德电影中的身体脆弱性和身体表达，分别从政治身 体、日常身体和影像身体三个维度出发，通过研究身体理论和电影文本中“谁的 身体如何呈现”，探讨奥斯特伦德如何建构身体、如何通过身体完成对“政治正 确”的重新审视。

第四部分则回归奥斯特伦德的电影文本、叙事和美学本身，聚焦叙事层面的 脆弱性和影像美学实践，探讨其如何将“脆弱性”根植于叙事核心，并借由虚构 叙事实现想象性解决和仪式性胜利，最终经由“脆弱性”抵达“抵抗性”。

在当代北欧电影语境下，奥斯特伦德电影中呈现的“脆弱性”指向了一种普 遍残疾和脆弱特质，完成了对于朱迪斯·巴特勒“一种基于脆弱的平等”理念的 影像实验。本文旨在通过研究奥斯特伦德的电影美学实践和“脆弱性”表述，探 讨当代电影如何以影像语言表达人类自身的生命经验，并提供了超越当前生活方 式限制的可能性。

Ruben Ostlund won the Golden Palm at the 70th and 75th Cannes Film Festival for The Square and The Triangle of Sadness, making him the youngest director to win the "Double Golden Palm" in history, and one of the masters of Swedish directing. Ostlund's images are an extension of social reality. With sharp social perspectives, harsh critical discourse and unique Nordic black humor, he tells the story of the plight of the Swedish society and the inextinguishable moral anxiety of the people in it, and accomplishes the perfect fusion of philosophical experiments and contemporary cinematic language, which has gained wide attention in the international film industry. Throughout Ostlund's video works, the word "vulnerability" is close to the core of his film narratives and aesthetic practices, therefore, this paper focuses on the expression of vulnerability in his films, and is divided into four parts to explore and discuss.

The first part is about cultural vulnerability, after defining the concept of "vulnerability" in the introductory section, we explore the cultural ground of "vulnerability" in this paper - the core concepts of Scandinavia, the Swedish welfare state and the "Nordic model". After defining the concept of "vulnerability" in the introductory part, and exploring the cultural soil of "vulnerability" discussed in this paper - the core concepts of Scandinavia, the Swedish welfare state, and the "Nordic model". Then we return to the history of Swedish cinema to explore Ruben Ostlund's inheritance and renewal of the Swedish film tradition and the European masters, and using specific films as case studies, we elaborate on how his images present "social experiments on the plight of mankind".

The second part takes the emotions and "relational aesthetics" in Ostlund's films as a starting point, and explores how Ostlund constructs "fragile" social relations and emotional connections in his films from the dimensions of family community, cold intimacy, and companionship and strangeness, as well as his profound reflections on interpersonal and emotional relations in the context of Nordic contexts and affective capitalism.

The third part focuses on the vulnerability of the body and the expression of the body in Ostlund's films. Starting from the three dimensions of the political body, the everyday body, and the image body, respectively, the third part explores how Ostlund constructs the body and accomplishes a reexamination of the "political correctness" through the body theory and the film text by examining the question of "whose body is presented how". Through the study of "whose body is presented how" in body theory and film texts, we explore how Ostlund constructs the body and how he accomplishes a reexamination of "political correctness" through the body.

The fourth part returns to Ostlund's film texts, narratives and aesthetics, focusing on the vulnerability of the narrative level and the aesthetic practice of images, exploring how he roots "vulnerability" in the core of the narrative, and realizes imaginative solutions and ritual victories through fictional narratives, and ultimately arrives at "resistance" through "vulnerability" and "resistance". The final result is "resistance" through "vulnerability".

In the context of contemporary Nordic cinema, the "vulnerability" presented in Ostlund's films points to a kind of universal disability and fragility, and completes the video experiment on Judith Butler's idea of "an equality based on vulnerability". The purpose of this paper is to summarize the aesthetic characteristics of Ostlund's "vulnerability" through the study of his film aesthetic practice, and to explore how contemporary cinema can use video language to express human life experiences and provide possibilities for transcending the limitations of the current way of life.