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主演:
费拉·福赛特
上映:
1986
备注
HD
类型:
电影
剧情:
  戏剧改编;前面受害者与强奸犯的对峙拍的异常真实,费拉·福赛特对受害者的情绪和反映均给出了异常可信的表演。但随后两名女室友的介入,话剧的感觉就全出来了,打破了原有的那股力量。室友替罪犯说话,受害者的辩护开始变得有些矫情。…

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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
1965 大陆
椰林怒火
  《捣毁“战略村”》  越南人民在美国侵略者的屠刀下,被赶进了“战略村”,失去了自由。他们怀念北方,盼望早日赶走侵略者,实现祖国统一。在越南南方民族解放阵线的领导下,人民组织起来和美伪军进行斗争,地下武装杀死了敌哨兵,扯下了敌伪军的旗子,挂上了民族解放阵线红蓝金星旗。美伪军发现红蓝金星旗后,惊恐万状。用武力强迫群众再把伪政权的旗子挂上,但英勇的人民决不屈从,恼羞成怒的敌人扛来了汽油,企图把全村人烧死。这时,一位年轻的战士为了挽救全村人的生命,假装上树挂旗,巧妙地向游击队发出了战斗的信号。游击队及时赶到,摧毁了“战略村”。村民们纷纷拿起了武器,投入抗美救国的战斗。  《战斗的游击小队》  游击队长站在湖边的岩石上,等待着队员们的到来。他们准备去码头执行炸毁美国军舰的任务。一会儿,一位妇女和男孩背来了用竹筒伪装起来的炮弹,两个男游击队员也带来了炸药包,各路的游击队员到齐了,队长向队员们作了战斗动员之后,队员们表示坚决完成任务,然后拿起武器就出发了。他们在通过铁路桥时,遇到了美伪军的岗哨。妇女端着一筐水果挺身而出,机智地将敌人引到自己身边,当敌人争吃水果时,游击队员一跃而上,把敌哨兵干掉了。队长命五姐妹埋伏铁路桥边打阻击,率领其他队员继续前进。一个美国水兵在码头巡逻,三个小游击队员分别化装成擦皮鞋、卖报、卖花的小孩接近敌人,用酒灌醉了美国水兵,并缴了他们的枪。突然,一声巨响,游击队炸毁了敌人的军舰。敌人闻讯,派出装甲车前来追击。在铁路边,五姐妹与敌人相遇。五姐妹英勇顽强,奋不顾身,炸毁了敌人的装甲车,掩护战友们安全转移。  《不屈的战士》  在西贡,解放阵线的青年战士阮文追不幸被捕。临刑前美国军官摆出一副伪善的面孔,企图诱使他投降。越南人民伟大的儿子阮文追正气凛然,挺胸阔步走向刑场,宁死不屈。他在刑场上厉声痛斥侵略者的罪行,号召人民起来战斗。不屈的战士阮文追英勇地牺牲了。但是,一个战士倒下了,千万个战士站起来。人民踏着烈士的血迹继续战斗,复仇的炸弹炸毁了敌人的机场和汽油库。  《椰林怒火》  在茂密的椰林丛中,越南南方女游击队员们挥刀劈竹,削制尖桩。解放军战士和游击队员们在宣誓之后,出发去打击敌人。在夜色朦胧中,三名女游击战士,机警地跃到公路旁侦察敌人的动向。她们把敌情报告了指挥员,部队立即埋伏在椰林丛中。前来扫荡的美伪军有的踏响了地雷,有的掉进了陷坑,陷入了重重包围。经过激烈的战斗,敌人大部分被歼灭,剩下的也都缴械投降了。  《保卫北方》  越南北方军民响应胡志明主席的号召,做好“三准备”:随时准备战斗,随时准备参军,随时准备到任何地方去,坚决打败一切来犯的敌人,保卫北方,保卫南方。人民军战士警惕地监视着天空,男女民兵背着枪在田间插秧。突然,汽笛响,警报鸣,美国空中强盗侵犯了越南的领空。正在劳动的人民,马上拿起武器和人民军一道投入了严惩美国空中强盗的战斗,在猛烈的炮火轰击下,美国飞机燃烧了。在越南人民的坚决打击下,美国的空军优势不过是一只纸老虎,侵略者的讹诈政策终于失败了。…
HD

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