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电影忧郁症2008
安吉莉·芭雅妮 / 佩里·迪桑 / Roeder / Dante Perez / Raul Arellano / Malaya / 伊拉曼·安德拉万 / Cooky Chua / Yanyan Taa / 索利曼·克鲁兹 / Emmanuel Dela Cruz / Carme Sanchez / Bodjie Pascua / Joanne de Quiros
Lav Diaz于2008年完成的新片,获得2008年第65届威尼斯电影节地平线单元最佳影片大奖。 本片可能是Lav Diaz最复杂的影片。长达7个半小时的片长对于熟悉Lav Diaz的人来说已是司空见惯。影片大致由三个部分和尾声组成:第一部分发生在Sagada村,男主角Julian和女主角Alberta以及他们的朋友Rina分别以不同的人格扮演来试图排解心中失去亲人的苦闷;第二部分是在马尼拉,此时Rina已因忧郁自杀身亡,Julian和Alberta因之前在Sagada村的人格扮演疗法发生争执,两人各执己见,但均无法找出真正治疗忧郁症的方法;第三部分是倒叙十年前发生在Mindoro岛上的左翼激进分子和军方的抵抗斗争,Alberta的丈夫Renato是激进组织的一员,在战友纷纷牺牲的情况下,Renato内心产生了激烈的斗争,认为自己的悲伤永无平息之日,后遭军方杀害。 除了标志性的黑白固定机位长镜头,Lav Diaz在这次的新片里安排了很多对话,目的就是要表达自己的思想,此外也触及了对菲律宾政治以及菲律宾电影史的探讨,很多思想甚至令人费解。影片情节线索复杂,叙事方式和视角不断切换,时空看似明朗但并不容易理清,加之时而伴有抒情性段落的插入,在丰富影片表意层次的同时也更增加了理解的难度。影片中每个人的故事都是通过他人的讲述引出的,而其本人的讲述却难辨真假,使人联想起福克纳的小说《押沙龙!押沙龙!》。
电影生育的世纪
Perry Dizon / 安吉尔·阿基诺 / 巴特·金戈纳 / Hazel Orencio / Betty Uy-Regala / Roeder / 乔尔·托雷 / 安吉莉·芭雅妮 / Soliman Cruz / Modesta / Dante Perez / Noel Miralles / Kim Perez
A majestic film in which two stories easily fit. One about a filmmaker who is a little like Diaz himself and wrestles with the completion of his film and with greedy film festival programmers. And one about a religious leader. Also a little like Diaz himself? The films of Lav Diaz often tell serious epic stories, but they are still not entirely free from humour and satire. For instance in this film, Diaz takes the mickey out of festival programmers and also sketches a picture of himself that is not entirely free from self-mockery. The film has two or three stories (also a film in the film) and one of them focuses on the filmmaker Homer, who very much resembles Lav Diaz himself. The tortured filmmaker wrestles with completing his film. Despite pleas from those around him and from eager programmers, he continues to refuse to regard his film as finished. Alongside the story about a nun in the film on which Homer is working, there’s another story about the religious leader Father Turbico. Turbico leads a sect in the countryside that is primarily made up of young women. When one of the women wants to leave the sect, a dramatic situation ensues. By telling the stories in parallel, similarities become visible between Homer’s struggle with cinema and Turbico's struggle with faith.