主演:米歇尔·皮科利 简·伯金 艾曼纽·贝阿 玛丽安娜·德尼库尔
导演:雅克·里维特
简介:弗兰霍夫(米歇尔·皮寇利 Michel Piccoli 饰)是一个功成名就的画家,妻子利兹(简·伯金 Jane Birkin 饰)一直都是他创作的源泉和模特,这也是利兹感到自豪的所在。但是这些年来,弗兰霍夫的创作灵感渐渐枯竭,当他面对着妻子的肖像画时,甚至感到无从下笔。当玛利亚娜(艾曼纽·贝阿 Emmanuelle Béart 饰)经朋友介绍出现在他眼前时,他已经有将近十年没有拿起过画笔了。性感奔放的玛利亚娜的出现重新点燃了画家的激情,他们两人在封闭的画室里整日疯狂的作画。利兹努力的克制自己的嫉妒心,但当弗兰霍夫将妻子的肖像画用玛利亚娜的人体覆盖的时候,利兹无法忍耐了,她和画家之间发生了争吵。 画作完成了,但弗兰霍夫却做出了一个惊人的举动,他将完美的画作永远的砌进了石墙里,从此,这副杰作将永远的隐藏于黑暗之中。 影片并没有过多的展示三人的情感纠葛,却将摄影机投向了画家作画的场面,真实的还原了一个艺术家的生活状态和作画场景,使影片有了更为高远的立意。
导演:雅克·里维特
简介:本片是1975年导演雅克里维特的;鬼故事系列中的一部。原计划分别以爱情、侦破、西部和歌舞这四个传统电影类型拍成四部关于;鬼的电影,合起来又是个统一的故事。《玛丽与朱利安的故事》是这个计划的第一部;爱情片,里维特先拍摄了其中的两部之后,就开始了《玛丽与朱利安的故事》的拍摄,但随即就停止了。里维特解释说:;两部电影的拍摄,每一部都有自己的风格,我已经非常疲惫了,但是我给自己设下的陷阱。20多年后,里维特重新拾这个计划。影片保留了20几年前里维特设计的结构,全片共分成四个相对均等的单元,分别是;朱利安、;朱利安与玛丽、;玛丽与朱利安和;玛丽,按照当年的设想,这是从;生者世界向;亡者世界的一种过渡。第一部分;朱利安讲述了玛丽的出现,并进入了朱利安的生活;第二部分;朱利安与玛丽讲述以朱利安为主动的二人生活,第三部分;玛丽与朱利安里,玛丽成为了两个人生活的主人,第四部分;玛丽描述朱利安知道玛丽是个亡魂之后如何被她的魅力所吸引而渴望死亡,最后两个人的爱情超越了生死。里维特让爱表达在两个人的动作和对白中,使影片更接近于戏剧的方式。
导演:雅克·里维特
简介:弗兰霍夫(米歇尔 皮寇利 Michel Piccoli 饰)是一个功成名就的画家,妻子利兹(简 伯金 Jane Birkin 饰)一直都是祂创作的源泉和模特,这也是利兹感到自豪的所在。但是这些年来,弗兰霍夫的创作灵感慢慢枯竭,当祂面对着妻子的肖像画时,甚至感到无从丅笔。当玛利亚娜(艾曼纽贝阿 Emmanuelle B eacute;art 饰)经朋友介绍出现在祂眼前时,祂已经有将近十年没有拿起过画笔了。sexy奔放的玛利亚娜的出现重新点燃了画家的激情,祂们两人在封闭的画室里整日疯狂的作画。利兹努力的克制自己的嫉妒心,但当弗兰霍夫将妻子的肖像画用玛利亚娜的人体覆盖的时候,利兹无法忍耐了,她和画家之间发生了争吵。画作完成了,但弗兰霍夫却做出了一个惊人的举动,祂将完美的画作永久的砌进了石墙里,从此,这副杰作将永久的隐藏于黑暗之鈡。影片并没有过多的展示三人的情感纠葛,却将摄影机投向了画家作画的场面,真实的还原了一个艺术家的生活状态和作画场景,使影片有了更为高远的立意。
导演:雅克·里维特
简介:这是一部牵涉到六个人感情交织的搞笑喜剧。首先是一个女演员回到巴黎,出演一部话剧,但该剧的剧情居然跟台下演员的真实生活遥相呼应。女演员跟剧团经理(也是男主角)有一腿,同时又跟以前的男友眉来眼去,但男友已经有了新女友。经理忙着搜集一部据说失传的18世纪作品,他旁边有一个女研究生当他助手,当然助手肯定爱上了他。而助手还有个兄弟,也来掺乎一脚。 卡蜜儿随著一个意大利剧团回到睽违两年的巴黎演出。他们的舞台剧并没有引来许多观众,使得卡蜜儿和她的男友,也是剧团的老板兼导演及演员,两人都有些意兴阑珊。其实,还有另外一件事让卡蜜儿挂记在心,她的前男友就住在这个城市的某个角落。而她目前的导演男友则忙著寻找一个鲜为人知的脚本挽救剧团,过程里也巧遇了一名妙龄女子,牵引出多段爱情的捉迷藏游戏。宝藏到底在哪里呢?
主演:朱丽叶·贝尔托 布鲁·欧吉尔 Jean Babilée Hermine Karagheuz Nicole Garcia
导演:雅克·里维特
简介:Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.
导演:雅克·里维特
简介:In this unreal walk through the streets of Paris, Marie (Bulle Ogier), a woman convicted of robbing a bank is just out from prison when she runs into Baptiste (Pascale Ogier) a young paranoid needing companionship, and the two team up for awhile. Marie's former boyfriend (Pierre Clementi) supplies them with a strange map of the city, suspicious because he keeps files on political figures that may be somehow linked to the map. A gangster nicknamed"Max" begins to track Marie and the already paranoid Baptiste, causing Marie to examine the map as though it held the clue to which sides of the city were"safe" and which were not. As the two women attempt to outsmart Max and unknown gangsters, they try to figure out the map - a task made all the more difficult by Baptiste's tendency to violent rushes of adrenaline and Marie's overworked imagination (a dragon at the North Bridge is a threat until Baptiste screams him down). Between the dragon and their own demons, Marie and Baptiste face frightening odds against coming out of this misadventure intact. ~ Eleanor Mannikka, Rovi
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