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导演:
主演:
于清斌,程瑶瑶,高骏
上映:
2011
备注
HD
类型:
电影
剧情:
  《我是谁》是由北京东方飞云国际影视公司投资制作的数字电影,剧情简介:若兮是苏州医院顾俊德教授的妻子,夫妻二人迁到了上海。但是,自从来到上海之后,若兮身边就一直怪事连连。因为丈夫俊德近一段时间很忙,于是就让管家慧姨找了一个名叫萍儿的丫鬟来陪她。萍儿这丫鬟干活麻利,说话讨人喜欢,几天下来若兮就跟她亲如姐妹,若兮还常把自己的衣服送给萍儿。穿上若兮的衣服,梳上若兮的发型,萍儿和若兮就像是从一个模子里刻出来的,以至俊德和认识若兮的人都把萍儿当成了若兮,把若兮当作萍儿。最终事态发展令若兮始料未及………

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2011 大陆
双凤奇缘
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HD
2010 其他
O somma luce
GiorgioPasserone
  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…
HD

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