HD
Filled with expectations, Etienne moves to Paris from Lyon to study film directing at the Sorbonne. He leaves behind his girlfriend Lucie, promising to call her regularly via Skype. On his course he meets Jean-Noël and Mathias, they too have come to the metropolis from smaller cities and share his passion for cinema. Together they discuss the cinematic canon, read texts by Flaubert and Pasolini, and listen to Bach and Mahler. Jean-Noël proves to be an agreeable friend who tries to strengthen Etienne’s fragile self-confidence Mathias, on the other hand, often comes across as stern, aloof and mysterious. Fond of arguing, he has a habit of disappearing for weeks on end without the others knowing where he is. Nobody gets to see his student film, either. Etienne is particularly crestfallen when he discovers by chance that Mathias shares a secret with Annabelle, an idealistic young woman who lives in Etienne’s shared flat and with whom he is secretly in love. Jean Paul Civeyrac’s tenderly melancholic black-and-white study of these young people’s encounter with art and life is at the same time a declaration of love for classic cinema and the city of Paris.
提及《很可能是魔鬼》《魂断威尼斯》《石榴的颜色》,老友重逢般会心一笑。怀揣理想朝圣巴黎的青年,马克思与可口可乐的孩子,生存还是毁灭的思考者。黑白画质、生活化的场景、文史哲的对白,让人以为是新浪潮时期,一看时间竟然是18年的片子。
法国文艺青年的故事。看似颓废、迷茫,内心却坚持着自己的信念。
浪漫到已經有點自溺得噁心,開頭對一種電影課的學習辯證還有趣,但篇幅越拉長,變得就像學生習作,想在巴黎找到什麼?生活?愛情?到最後我在想讀哲學,究竟是真做自己?還是只是模仿他人的思維?黑白新浪潮文青,只剩模仿的文謅謅體。巴哈膩,最後鏡頭長到多扣幾分,憂鬱到魂斷巴黎跳窗,帕索里尼桑心
女友、合租客、社會活動家、異鄉人、辦公室職員,艾蒂安一直朝著無法共通的對象傾倒自我,而Mathias出現走在前面時他又閉口不言。毀掉電影和親近關係,在任何方向都無法達成對話,直到一直以來仰望的鏡子墜落以後他才有空看見真正的窗外。「他說這個世界上沒有他的容身之地,現在他永遠留在巴黎了。」
Ce qui rend la vision si embarrassante, c’est la prétention désarmante au «grand œuvre» et la naïveté de croire qu’il suffit pour cela d’aligner les références nobles.
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