娃娃脸
发表于9分钟前回复 :2017年,李一凡开始拍摄杀马特。他从深圳开始,在深圳、广州、中山、惠州、重庆、贵阳、黔东南州、黔西南州、毕节、安顺、昆明、大理、玉溪、曲靖,以及红河州,共计完成杀马特采访67个,网络采访11个。在拍摄期间,李一凡又从杀马特和其他工人手中,通过直接购买手机视频等方式,收 集了工厂流水线及工人生活录像915段。这是一次详实且残酷的调查梳理行动。五颜六色的头发下面,李一凡重新检讨了城乡关系里,关于社会底层工人的生存代价和权利困境的根源。当越来越多的杀马特消失在人们视线里,而曾经或依旧是流水线工人的他们,和今天仍然不断涌入城市的打工者一样,依然面临着实质上的权利不平等,依旧笼罩在制度性排斥的阴影里。杀马特音译自英语“smart”一词,泛指一种中国城市年轻工人中曾经风靡一时的亚文化潮流,以夸张而廉价的服饰、发型著称。艺术家、纪录片导演李一凡花费数年时间实地接触和研究“杀马特”群体,最终用访谈和工厂场景创作出一部长片,并在展览现场用数百部二手手机播放购买自工人自拍的生产场景。李一凡将展览视为一次让美术馆观众看到另外一个社群的机会,在长片中他借用年轻工人的陈述,描绘出杀马特形成的条件、变化,及如何在舆论暴力下走向式微。在项目中,他始终是以无知者的角色进入,随后逐渐发现杀马特的遭遇,来自于年轻工人的孤立处境和与城市主流生活之间的疏离,并把项目看作是对杀马特一词祛魅化的过程。这与他一贯的立场保持一致,即认为在中国的现状下,艺术创作应当基于对社会生活的直接体感,才能因现实本身的超越性,获得足够的创造力。
陈丽斯
发表于3分钟前回复 :双目失明的钢琴家阿卡什(阿尤斯曼·库拉纳 Ayushmann Khurrana 饰)为了参加国际大赛,平日里通过私人授课赚取经费。事实上他的眼睛完全正常,只不过希望通过这种方式感受不同的生活。因为一场意外,阿卡什结识了美丽的姑娘苏菲(拉迪卡·艾普特 Radhika Apte 饰)。凭借出色的演奏技巧,阿卡什在苏菲父亲经营的西餐馆谋得兼职。他的演奏不仅令食客们倾倒,更虏获了苏菲的心。某天,阿卡什接受过气的影星普拉默(安尔·德霍万 Anil Dhawan 饰)的邀请,登门为对方的妻子西米(塔布 Tabu 饰)演奏庆生,谁知却亲眼目睹了倒在血泊中的普拉默的尸体。惊慌失措的阿卡什假装镇定,虽然暂时骗过了西米及其情夫,但是他的秘密还是慢慢被人戳穿……本片改编自2010年的同名法国高分悬疑短片。
陈星
发表于1分钟前回复 :"The Witch Burnt Alive"After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous."Community Spirit"Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through."The Earth Seen from the Moon"The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific."The Sicilian"Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories."A Night Like Any Other"Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.