剧情简介
秀兰在《曼德勒》中，生人与凯·弗朗西斯和里卡多·柯兹一起乘坐一列丛林蒸汽火车，走马灯似地露了一面。
你好，陌生人
秀兰在《曼德勒》中，生人与凯·弗朗西斯和里卡多·柯兹一起乘坐一列丛林蒸汽火车，走马灯似地露了一面。
计镇华
回复 :2000年香港，女权运动不断高涨，为了对付妇解份子，“防止虐夫会”因而成立，在必要时以暴易暴，消灭妇解中的恐布份子。郑则士受到妻子虐待及迫害，甚至人身自由亦被剥夺，郑遂向“防止虐夫会”求助，可惜其畏妻症太深，最后被认为无药可救，自愿接受人道毁灭。其宝郑并未死，暗中观察其妻举动，知妻对他尚有深厚感情，于是接受“防止虐夫会”林主席建议，携手榴弹与妻展开谈判，若她仍不悔改，则同归于尽，怎料郑妻见夫归来，高兴之余，却意外炸死了林主席，而男女权斗争也随之结束。
代青塔娜
回复 :What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.
刘允乐
回复 :本片是苏联纪录片导演，“电影眼”理论的创始人吉加•维尔托夫（Dziga Vertov）的代表作。电影主要拍摄于乌克兰的敖德萨市，摄像师是维尔托夫的哥哥米凯尔•卡夫曼（Mikhail Kaufman）。影片主要分观众入席、城市黎明、人民的工作与休息、体育运动和艺术实践几部分，通过刻画人民生活的方方面面来呈现苏维埃新社会中的一个理想城市。摄影师米凯尔•卡夫曼在拍摄的同时也出现在电影画面中，首创了“自我暴露”的电影形式。在这部具有里程碑性突破意义的纪录片中，维尔托夫首次使用了二次曝光、快进、慢动作、画面定格、跳跃剪辑、画面分割等前卫剪辑手法，并采用了仰角、特写、推拉镜头等新颖的拍摄手法，并制作了一段定格动画。
