主演: Giorgio Passerone
导演: 让-马里·斯特劳布
类型: 短片 地区: 法国 年份: 2010
时间: 2024-12-03
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
Sofía Clausen,Santiago Ferreira,Mercedes Halfon,沃尔特·雅各布,Pablo Seijo,Lina Ziccarello
杰西卡·兰格,凯西·贝茨,莉莉·拉贝,杰西·威廉姆斯,皮尔斯·布鲁斯南,诺希尔·达拉尔,卡特琳娜·艾琴伯格,劳伦·布格利里,丽贝卡·沃森,Allison Mackie,坦兹·麦考尔,辛迪·霍根,迈克尔·罗斯,Clayton Landey,肯尼斯·特鲁希略,布莱恩·麦克卢尔,基思·阿瑟·鲍顿, 大卫·斯沃曼,大卫·沃恩,Jonathan Horne
未知
依若熏,夜叉,辰朔,夏弋,朔小踹
何雨宸,袁祥仁,张博楠,朱嘉镇,张宸彬,徐颖
肖央,古力娜扎,王迅,刘琳,杨皓宇,王琳,代乐乐,王太利
陈意涵
本·阿弗莱克,乔·博恩瑟,辛希亚·阿戴-罗宾森,丹妮艾拉·皮内达,J·K·西蒙斯,Allison Robertson,格兰特·哈维,玛丽埃尔·苏亚雷斯,Matt Linton,卡珊卓·布莱尔,Nik Sanchez,约翰·帕特里克·乔丹,宝拉·罗兹,克里斯汀·阿瑞扎,Celeste Octavia,钱佛南,Lincoln Bodin,阿兰·阿里·瓦什涅夫斯基,迈克尔·图尔克,塔丽雅·蒂斯菲尔德,乔·霍尔特
约纳斯·基布雷亚布,佐伊·索尔达娜,雷米·埃杰利,布拉德·加内特,贾米拉·贾米尔,雪莉·亨德森,August Linn
莎拉·斯努克,柯蒂·斯密特-麦菲,杰基·韦佛,尼克·凯夫,艾瑞克·巴纳,玛格达·苏班斯基,多米尼克·皮侬,托尼·阿姆斯特朗,保罗·卡普西斯,伯尼·克利福德,大卫·汤普森,夏洛特·贝尔斯,梅森·里索斯,亚当·艾略特,艾格尼丝·戴维森,丹尼尔·阿格达格,萨克森·怀特,赛琳娜·布伦南,斯米塔·辛格,布莱登·艾斯亚克,丹·多赫蒂,亚历山大·伊森纳罗·桑塔菲,海德利·艾略特,卢克·艾略特
张国荣,常盘贵子,樫野有香,杨紫琼,高捷,惠天赐,廖启智,黄家诺,李香琴
郭俊辰,孙伊涵,周彦辰,葛鑫怡,丁真珍珠,翁虹,韩栋,吕一,段奥娟,陈博豪,沈雨,杨曼聆