午夜剧场色
剧情介绍
🏠 午夜剧场色 🎞️❃
【基本信息】✨ 片名：午夜剧场色剧情片2010让-马里·斯特劳布Giorgio Passerone
【剧情简介】📑 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 💡
【观影感受】💫 作为一部剧情片，午夜剧场色的剧情发展环环相扣，Giorgio Passerone的表演为角色注入了灵魂，让观众感同身受。
【个人评分】⭐ 7.4/10
#午夜剧场色 #热门电影 #情感共鸣 #场面震撼 #进口大片 #国际大片 #必看影片 #影视评论
【相关推荐】🔍 用户还在搜：
✅ 午夜剧场色未删减版 | 午夜剧场色下载 | 午夜剧场色国语版✅ 午夜剧场色网盘资源 | 午夜剧场色百度云 | 午夜剧场色主演是谁
午夜剧场色
2010 剧情更新: 2025-05-12 20:23:37简介
选集
剧情介绍
🏠 午夜剧场色 🎞️❃
【基本信息】✨ 片名：午夜剧场色剧情片2010让-马里·斯特劳布Giorgio Passerone
【剧情简介】📑 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 💡
【观影感受】💫 作为一部剧情片，午夜剧场色的剧情发展环环相扣，Giorgio Passerone的表演为角色注入了灵魂，让观众感同身受。
【个人评分】⭐ 7.4/10
#午夜剧场色 #热门电影 #情感共鸣 #场面震撼 #进口大片 #国际大片 #必看影片 #影视评论
【相关推荐】🔍 用户还在搜：
✅ 午夜剧场色未删减版 | 午夜剧场色下载 | 午夜剧场色国语版✅ 午夜剧场色网盘资源 | 午夜剧场色百度云 | 午夜剧场色主演是谁
简介
2010 剧情
导演: 让-马里·斯特劳布
主演: Giorgio Passerone
🏠 午夜剧场色 🎞️❃【基本信息】✨ 片名：午夜剧场色剧情片2010让-马里·斯特劳布Giorgio Passerone【剧情简介】📑 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 💡【观影感受】💫 作为一部剧情片，午夜剧场色的剧情发展环环相扣，Giorgio Passerone的表演为角色注入了灵魂，让观众感同身受。【个人评分】⭐ 7.4/10#午夜剧场色 #热门电影 #情感共鸣 #场面震撼 #进口大片 #国际大片 #必看影片 #影视评论【相关推荐】🔍 用户还在搜：✅ 午夜剧场色未删减版 | 午夜剧场色下载 | 午夜剧场色国语版✅ 午夜剧场色网盘资源 | 午夜剧场色百度云 | 午夜剧场色主演是谁
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