《救命》（HELP）是由北京群垚传媒有限公司出品，中国青年导演胡艺川执导， 胡艺川、黄恒立、韩光鹏编剧，常月萍、周萌等主演的人文电影。该电影于2011年10月18日在中国大陆公映。

本片并不屈从于好莱坞的经典叙述模式，而是采用了三段式的格局，叙事结构上采用重写式的板块结构。故事发生在我们身边，发生在当下的中国。徐刚和江小杰是一对有情有义的农民工兄弟，他们两人同在一个建筑工地干活。一次两人被老板派去工地外干活，途径青龙湾附近，遇到一个叫陈汉华的钓鱼老人不小心掉入河中，两人义无反顾，果断跳河救人。不料由于河水湍急，落水者被救上了岸，两人却不幸淹死在河里。失去徐刚和江小杰之后的两个家庭，其主要成员（徐刚妻子刘芳，孩子小敏，江小杰女友田佳，兄长江河）的生活均发生着一系列不可控制的变化。那么，假如徐刚与江小杰当初选择不救钓鱼老人，那么事件本身将会……....

入选第6届北京独立电影节(BIFF) The 6th Beijing Independent Film Festival2011

第24届哈尔滨冰雪电影节“短片导演风格大奖”Harbin FilmFestival

入围第19届大学生电影节

入围第3届西安民间国际影像节

第5届土豆映像节最佳导演“金种子奖”“独立精神奖”提名

2012美东华语电影节“最佳导演奖”

独立精神气质：★★★★★ 故事性：★★★★

针砭时弊，主题鲜明，具强烈的话题性与现实意义。故事阐述方式发人深思，令人动容，对整个社会亦有振聋发聩的警示作用：救人，无法定义为见义勇为，倒为亲人平添困局；不救，道德如宗教般拷问心灵，唾沫腥子仍能杀死人。三段式的格局很赞，只是如果针对救人与否最终有一些正面的举动，有一些可参考的正解，那会更容易在网络推广传播，否则会由于过于写实、挑战和谐社会而有被禁的风险。

——《土豆映像节》

点评

从鼓励新人的角度出发，我更愿意投给这部电影一票。它虽然不是一部标准长度的剧情长片，但在整体控制上表现出了足够的潜力。对题材的选取，以及对叙事节奏的掌控能力，都属于值得关注的范围。虽然在制作层面有青涩之处和种种不足，但相比其他候选作品，这部电影所呈现出来的影像控制力和叙事能力，是值得让我们期待导演的下一部的。

——《土豆映像节》

-Instantly gripping. Greatdialog. Professionally shot with cinematic consciousness and consistency in a‘hand-held’ feel. -River Bed sequence develops brilliantly, never allowing theaudience to breath. The money haggling scene is astounding. The juxtapose ofheroism vs opportunism is fantastic. -In some scenes, the story developsextremely quickly without allowing the emotional intensity to set in. Forexample; when the OLD MAN realises the two WORKERS died to saving him. -It isnot immediately clear who the protagonist is. There are multiple storiesbetween the WIFE, the DAUGHTER and the OLD MAN, but they are sparse and I can’thelp but feel the want to get closer, more intimate to a single individual.This could be due to a serious lack of close-ups in the film. By the half-waypoint I still haven’t really read the WIFE’s face. It may be an artisticdecision, but it is not allowing me resonate entirely with the WIFE. -The ‘rainpour-down’ sequence with the kids is brilliantly executed and again, the dialogsurprises you with unexpected outcomes. -Interesting turn of events when thefilm portrays the social repercussions of having taken no action at all. Neither the victim’s family in the first reality, nor the defendant WORKERSin the second reality want to take responsibility. This is an interesting butsomewhat darker look at societies interwoven behavior considering all of theoutcomes. Of course, drama needs to be created, and this film does itincredibly well with a large cast. -The film takes a good stab an analysingsocieties as well as individuals definition of justice, both on a mass viralscale and on an intimate family/partner level too. Intensely interesting anddeep, beyond just the performances and on-screen action. -Fantastic full circleending which not only suggests, rather sinisterly, that you cannot escape yourfate but the group of attackers acted in exactly the same way to what they wereprotesting against. This genre gimmic however, ‘alternateendings/realities’(a la RUN LOLA RUN) is, in my opinion, alittle bit of a ‘cheap’wayto avoid a deeper, more complex narrative and can be very disengaging. -Allround a brilliant, thought provoking film that will stay with me long after thecredits have rolled.

———《圣丹斯国际电影节》

“这么长的故事完成度挺高的。摄影蛮有含金量。但是作为导演完全失去了掌控力，整部所谓的电影拍成了一档伦理类电视节目中的原景重现。片子更像一部伪纪录片，艺术性严重缺失。两段故事本可以产生更为强烈的戏剧冲突，但是对比与对位并不是很明显。看看《a separation》是怎么拍的吧.”

——（liangguiying）

“本年度最具争议影片”——（LEO胖哥）

“深刻！救还是不救？社会性问题！”——（白化饭）

“这个短片很经典，救？不救？很纠结，其实也很简单。有道德底线的人都懂的，不和脑残探讨。脑残？谁？对，就是媒体。短片中有媒体这样问：你们会不会离婚呀？ 人言可畏？我说媒体可畏呀”。

——（sczyan）

“社会真的是这样吗？这些只是极个别的现象，不能代表大部分，所以我想这种片子不该拍，也没必要拍，拍这个就说明编剧本身心里就是有问题，思想深处很阴暗”——（前世将军）

“欲哭无泪啊！太震撼的片子了，真实得几乎就像是纪录片。”——（lisenhei）