O somma luce
308
4.0
HD
O somma luce
4.0
更新时间:06月01日
主演:Giorgio Passerone
简介:

  转自:http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub
  “The end of paradise on earth.”—Jean-Marie Straub
  The 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.
  “O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.
  In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.
  So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.
  During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.
  The mise en scène of what words exactly?
  The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.
  Is “Straubie” Greece?
  This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich

3028
2010
O somma luce
主演:Giorgio Passerone
红色木鸽
194
3.0
DVD
红色木鸽
3.0
更新时间:06月01日
主演:南尼·莫莱蒂,西尔维奥·奥兰多,Mariella Valentini
简介:

  《红色木鸽》是莫瑞提首部在国际间获得票房斩获的影片。《红》片是描述一名共产党政要兼水球运动员米基磊,在车祸丧失记忆之后还硬被拖去参加水球比赛,而主角在比赛过程中所作的抉择,以及主角与他人甚或与自己的对话,则让影片在试图为意大利共产党重新定位的表象下(反映八十年代后期前苏联与东欧共党纷纷垮台所引发的政治认同危机),解构了共产主义、法西斯主义、资本主义以至天主教神权的诸多神话,成为当代意大利政局纷乱的“寓言"。同时,比赛进行间在游泳池畔还有影片《齐瓦哥医生》的电视播映,《齐》片的高潮甚至令众人围观而中断了比赛的进行。但当齐瓦哥猝死在广场上,那毫不知情、疾行离去的女主角既呼应着《甜蜜的梦》里非真实存在的女孩,更象征了政治理想的逝去与无回。        莫瑞提的头两部剧情长片《自给自足》与《Ecce Bombo》也成功为他塑造出了“分身"——米基磊·亚皮赛拉(Michele Apicella)。在1989年的《红色木鸽》(Palombella Rossa)之前,此角即持续出现在莫瑞提的片中,是个由莫瑞提亲自担纲、与周遭人常有隔阂、总陷入恋爱又带点自恋、同时不断寻求解答的行动派角色。

930
1989
红色木鸽
主演:南尼·莫莱蒂,西尔维奥·奥兰多,Mariella Valentini
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