我们无法再回家原名:We Can't Go Home Again,
Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the **** origina...
哎嘛泪流满面 最后庞德那句make it new简直萦绕脑海三百天
雷用属于他的爆裂笔法创作的实验片(虽然很异色但确实能很明显看出是他拍的),极其怀疑约斯特学了这部,而且雷的音乐品味挺不错啊(在模糊现实与虚构上这部很早了)
8.1 设置一块似电视机的正方形银幕,再将画面分割成更小的尺寸,超验的影像组成了模拟的,亦是**的真实,也因此罕见地拍出了**影像的另一面:在****的元电影背后,也许是面对自我毁灭的勇气,消极地抵抗着世界的崩塌。
连同导演夫人Susan Ray拍的纪录片Don't Expect Too Much一起看的。两部都看哭了。
9.21貌似只有我和教授对这个电影很high,看完这个以及教授的演讲,瞬间对教授好感度up!被问起最喜欢的scene,那个孤独的**被雨淋,去了一个亚洲系男人的家,男人与***起了钢琴,而她又被遗忘在角落,她感到冷,向男主人索要了件衣*,她脱下湿衣***的瞬间,我感到了莫名的孤独,以至于快哭了
He believes in the image and the face
感謝名單裡安迪沃霍和文德斯前後,唉。除了最後那句沒有一個人會是孤獨的,即便是喪失理智的瘋子。
惊现金斯堡。醉熏**雷彻底的放飞自我,直接启发了戈达尔的《此处与彼处》,间接启发了豆瓣上狂吹的**《日月无光》之类甚至是格林纳威。
Tear comes when I saw the images. Most beautiful mess ever exsist.
Essai collectif ** expérimental, We prend plus l’allure de la video art que celle du ciné**. En avance sur son temps,Ray effectue 1 rupture radicale avec son esthétique antérieure ( écrans multiples, surimpression). Renaissance psychédélique ou adieu testamentaire ?