O somma luce

　　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　　　　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详情

• HD中字

  大教堂谋杀案1951

  内详

• 更新20241017期

  欢乐集结号

  董凯,文杰,璐璐,王旭,王群

• HD中字

  她不见了

  露西·弗莱,艾莎·冈萨雷斯,克里斯蒂安·卡玛戈,乔什·哈奈特,布拉克·贝里斯,希拉·凡德,安东尼娅·坎贝尔-休斯,克里斯托弗·乔丹·华莱士,杰瑞·G·安格罗,菲奥娜·哈丁汉姆,卡丽·拉扎,安伯·明迪桑德,卢斯·雷恩斯,Adrian Acosta,Russ Dillen,Clebert Garcia,Alicia Gerrard,Doris Hargrave

• 正片

  死亡电压

  阿莱娜·霍夫曼,麦克·多普德,米米·库兹克,克里斯塔·布里吉斯,罗恩·利,安吉拉·贝夏拉,丹尼尔马格德尔,伊娃·林克,托马斯·米切尔,RachaelWhitzman,GerganaZabunova,NatalieRadford,EvaParisCicinyte,PaulaKaye,DonaldTang

• 更新剧情片

  别有洞天

  希亚·拉博夫,西格妮·韦弗,强·沃特,蒂姆·布雷克·尼尔森,科里奥·托马斯

• HD

  特种突袭之逆战

  赵英龙,马驰,王鹤贺