A film version of a play Fassbinder directed in Hamburg, Clare Booth Luce's The Women. It gave Fassbinder an opportunity to indulge his passion for working with women - there are forty women in the play and no men. The play dates from the 1930s, and Fassbinder was accused by the critics of being anti-women (a frequent criticism of late). As usual, he chose to work against the text, and from this has constructed an entertaining and engaging play about love between upper-class women with nothing better to do than sneer at others when things go wrong with their lives and loves.
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甄姬兒快luo
1、雖然這是一部紀(jì)錄片,卻還是賈樟柯那熟悉的味道。如同時(shí)代,這些年來(lái)賈樟柯既有變化也有不變。不變的是對(duì)人的始終關(guān)注,變化的是視角變大了。 2、以往的電影,他關(guān)注得更多的是具體的人,《{#標(biāo)題55}》《{#標(biāo)題56}》《{#標(biāo)題57}》莫不如是,然而他的視角在慢慢放大、抬高,如今在《{#標(biāo)題58}》中,他關(guān)注的已然是歷史的記憶,是時(shí)代的印記,是國(guó)人的群像,是故鄉(xiāng),是農(nóng)村,是中國(guó)人的根。 3、難以忘卻,影片中那一張張陌生卻熟悉的臉,或蒼老,或年輕,真實(shí)、質(zhì)樸、動(dòng)人,每一道皺紋里都飽含著故事。聽(tīng)到這句話時(shí)突然覺(jué)得很感動(dòng),“關(guān)注那些被飛奔的時(shí)代撞倒的人們”,說(shuō)得真好! 4、小時(shí)候覺(jué)得海水應(yīng)該是藍(lán)的,但見(jiàn)到的卻是黃的,于是我就想一直游,游到海水變藍(lán)!