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    芳心封鎖是由Gilberto,Tofano执导的一部拍摄于1969年剧情片在其它上映,主演由Gila,Almagor领衔。  The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography  The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic.  Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens.  The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film.  It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief.  "Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas.  Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film.  This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.
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    吹牛伯爵

    受新浪潮影响的以色列电影。虚构与非虚构(纪实)影像的交织回荡于Gila Almagor的记忆之中,构建出一个迂回流转的心理迷宫;轻盈而锐利的蒙太奇则剖解战时所带来的无尽创伤,反映在意识流般的错乱的闪回片段中,例如Gila所饰演的widow在逛街的镜头立刻与其亡夫奄奄一息的桥段组接,尽管Gila不曾亲眼目睹,这也赋予了闪回纪实性与臆想的结合性质。现在与过去的交集扩大,战争的梦魇困扰、侵蚀着亲历者与受影响者的精神世界。为走出亡夫的阴影,Gila试图扎进消费主义的漩涡之中,一连串杂志、广告等商业宣传影像的照片蒙太奇图解了Gila的消费欲望,然而结局徒劳无益。以收音机、电视为代表的媒介进入公众生活,作为政府的宣传口舌连续不断地反写着角色,抵达某种不可见的幻象。接收者一端的Gila对此的态度也发生了微妙的偏移,从抗拒一切收音机所播放的新闻报道变为购置一台价格不菲的电视机。而导演Tofano为媒介书写者则尽其所能通过found footage的插入:越战影像、阿以战争影像,甚或主动在结尾处打破第四面墙的选择,导演及剧组直接现身,聆听着收音机播报的战争快讯,皆为电影及战争祛媚。

    2022.8.30

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