Birte
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阿涅斯·瓦尔达
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新浪潮老祖母阿涅斯?瓦尔达处女作,短岬村也正是瓦尔达成长的地方。 影片主要有两部分构成:年轻男子路易(Philippe Noiret 菲利普?努瓦雷 饰)回到家乡短岬村,一个位于法国赛特区的渔港小村。与之生活了四年的妻子艾拉(Silvia Monfort 西尔维娅?蒙福特 饰)随后也来到了这里。路易对短岬怀有强烈的感情,艾拉却对这里感到陌生。不论两人如何努力,隔膜感还是使他们原本平淡的关系进一步陷入危机。夫妻俩在短岬的日子里,探讨着对爱情和生活的感悟…… 另一方面,政府派来调查员调查短岬污水的情况,村民们团结起来驱逐外来者。短岬的生活波澜不惊……《短岬村》(La pointe-courte)是一部1955年上映的法国电影,由阿涅斯·瓦尔达执导并担任编剧。主演包括西尔维亚·蒙福尔和菲利普·努瓦雷。这部电影是阿涅斯·瓦尔达的导演处女作,也被认为是法国新浪潮电影运动的先驱之一。故事发生在法国南部的一个小渔村,分为两条线索进行叙述。第一条线索讲述了一个年轻的夫妇回到短岬村的故事。丈夫是一个来自巴黎的数学家,妻子则是当地的居民。他们面临着婚姻中的问题和挑战,以及他们在这个陌生环境中的相互关系。第二条线索则关注了整个村庄的居民生活。通过展现不同人物的生活片段,电影揭示了村庄中存在的社会、经济和情感问题。这些人物包括渔民、农民、妇女和孩子,他们各自面临着生活的困境和挑战。《短岬村》以其独特的叙事风格和观察生活的方式而受到赞誉。影片通过对人物的深入刻画,揭示了个体与社会之间的紧张关系,以及生活中的普遍主题,如爱情、婚姻、孤独和生存。这部电影被视为法国电影史上的经典之一,也为阿涅斯·瓦尔达的导演生涯奠定了基础。它在当时的电影界引起了广泛的讨论和赞赏,被认为是一部突破传统的艺术作品,对后来的电影运动产生了深远的影响。
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艾迪森·海曼
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Twocodependentbestfriendsbecomeaddictedtotheheroin-liketouchofanaliennarcissistwhomayormaynotbetryingtotakeovertheworld.WriteranddirectorAddisonHeimann’ssecondfeaturefilmisprovocativelycomedic,inventive,andinsaneinthebestpossibleway.AnodetothedeliriouslystylisticlensofJapanesecinemainthe’60sand’70s,TouchMedaresto“gothere”withitsthemesofmentalhealth,desire,andHentai-infusedsexualabandon.OliviaTaylorDudleysinksintocharactertoportrayafracturedandwanderinghumanbeingindesperateneedofalife-affirmingtouch,whileLouTaylor-Pucci’stracksuit-cladalienpersonaisplayedtodelightfulperfection.JordanGavarisandMarleneForteroundoutanimpeccablecastoffar-outcharacterswhomanagetobeatonceacrimoniousyetrelatable.Theendresultisaweird,wild,andfrenziedfeverdreamwithsomuchtounpack.Whilewemaynotbeabletorelieveourselvesofself-doubt,deep-seatedchildhoodtrauma,anddebilitatinganxietywiththesimpletouchofanextraterrestrialbeing,maybelifeisn’tsobadafterall?
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1976年炎天,当吉米·卡特(Jimmy Carter)总统许诺要把当局还给国平易近时,费城一个工人阶层栖身区的缓和氛围低落,那边已经是黑豹党(Black Panthers)的大本营。当马库斯返来的时间——他已经分开了多少年——他的返乡并不遭到热闹的欢送。他从前的活动兄弟责备他的背离。只有他最好的友人的遗孀,帕特里夏,懂得马库斯的窘境,这是连合跟瘫痪他们。帕特丽夏的女儿迫使两个同道面临他们的从前,汗青以伤害的方法重演。「暗夜惊魂」奇妙地反应了剧中人物反动认识状态跟心坎欲望的庞杂性。喇叭裤!非洲黑人!百乐餐跟球童作为场景,片子奇妙地将政治媒体与能唤起灵灵魂感的音乐交错在一同,唤起了活泼的所在跟时光感。洗浴在人物脸上的金色毫光好像抒发了马库斯跟帕特丽夏为须要的转变而尽力的生机跟难以实现的欲望——他们各自用差其余方法。
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Nearfuture.Mankindissuccessfullyexploringspace:nowahugeDeltastationislocatedintheearth'sorbit.MaksimBortnikovisoneofthemembersofthestationrepairteam.AnunexpectedcatastrophecausedbyaprotonstormcutsoffMaksimfromtherest,andheisleftaloneinouterspace.
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OnlyforTerezaisaromanticcomedyfullofawkwardsituationsanderrors,whichproves,thatfightingforlovecansometimesbeincrediblyarduous,especiallywhenlifeslapsyouinthefaceallthetime.Thecharactersofthe"severelytriedcouple"areplayedbyIgorOrozovicandVeronikaKhekKubarova,supportedbyDavidMatásek,LenkaVlasákováorMatousRuml.
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After a holiday visit with his parents, Mikey is headed to the airport to return to his wife and newborn baby. Except he doesn’t board the plane. Instead he returns to his parents’ loft in lower Manhattan, back to his childhood room that has since been converted to storage. Unsure of his own motivations, he makes up excuses about why he’s staying – his flight is delayed, his flight is cancelled. A day passes, and then another, and he calls home and work to say he can’t return just yet – his parents are getting old, his parents are ill, time is too short. His doting mother is more than happy to enable his procrastination, while his artist father is suspicious. From afar, his confused wife grows increasingly unsettled. Meanwhile Mikey moves back into his room, digging out notebooks and mementos, calling on old friends. As the days go on he becomes more and more entrenched in his adolescent sanctuary, and comes to a point where he must choose between life as it is and life as it was. --? Official Site
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马克·詹金
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康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式,但如今富有的伦敦游客纷纷下山,取代了当地人,当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫,因为史蒂文开始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅,现在看来,最后一场战斗是和新主人在海边的停车位上展开。然而,情况很快就失控了,而不仅仅是因为车轮夹钳。Bait是一种黑白,手工制作,16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而,最重要的是,在影像中不同层次的电影历史参考文献之下,当前许多政治关联正在等待被发现。Thepicture-postcardidylloftheCornwallfishingvillageismisleading.Whilefishingusedtobeawayofsupportingoneself,wealthyLondontouristshavenowdescendedandaredisplacingthelocals,whoselivelihoodisthusthreatened.TherelationshipbetweenbrothersStevenandMartinisalsostrained.Martinisafishermanwithoutaboat,sinceStevenstartedusingitforfarmorelucrativetoursforalltheday-trippers.They’vesoldthefamilycottageandnowitseemsthatthefinalbattletobefoughtisthatwiththenewownersovertheparkingspacenexttothesea.Yetthesituationsoongetsoutofhand,andnotjustbecauseofthewheelclamp.Baitisablack-and-whitefilmshotonhand-processed16mm.Numerousclose-upsoffish,nets,lobsters,wellingtonboots,knotsandcatchbasketsbringtomindthetheoryofamontageofattractions.Thedepictionofthedifferentsocialstrata–onecouldspeakofclassrelations–isalsoreminiscentofthetraditionofsocialrealisminBritishcinema.Aboveall,however,awholelotofcurrentpoliticalrelevanceiswaitingtobediscoveredbeneaththedifferentlayersoffilmhistoricalreferencescontainedintheimages.
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Just over 40 - years ago, marriage in China was arranged by the state. Romantic love was seen as a capitalist concept and was not allowed during this period. Wedding photography (if any at all) consisted of one black and white passport photo of the couple (dressed in Mao- style outfits) as proof of the marriage. Now, China has fallen in love with love and its exploding wedding industry is worth 80 - billion dollars, and it is on an upward curve. Pre-wedding photography is one of the most significant and curious parts of the industry. Every couple marrying in China will take part in a pre-wedding shoot. It in册ves several costume and backdrop changes where you can become a character in any fantasy you choose. For the most exotic lo- cations couples pay up to $250 - 000 - AUD. Pre-wedding photo shoots have become an important national ritual. They are proof of the marriage but now also of love, romance, freedom, status, money and the new China Dream. As an expat living in Shanghai with a long history of coming to China, Sinophile photographer Olivia Mar- tin-McGuire was captivated by the construction of dreams through this booming photographic world. Once she started to delve deeper into this new traditional she found a unique window into China. One that revealed a country dreaming, a country rapidly booming and a country reconstructing its recent past trauma all through their own lens. China Love takes us on a wild journey into the warmth of the family web in China into the hearts of our characters and into their personal dreams with an understanding of why and where these aspirations come from. The project explores China's new position as a globalised country from its restrictive and highly traditional past - through the window of its booming wedding industry and asks what is the new China Dream when it comes to love.
