在我看来,《刺客聂隐娘》虽然雄心勃勃,却不及侯孝贤用相似手法创作的早期作品《海上花》。它紧凑的情节淡化了人们对视觉效果的追求,这正是电影出色之处。
Jia Zhangke's Mountains May Depart is neatly divided into three time periods. The first two, set in 1999 and 2014, find him in familiar territory, but it is the last one, set in 2025Australia, that is jaw-dropping in both positive and negative ways.
贾樟柯的《山河故人》恰好根据时间节点被分为三个部分。设定在1999和2014的部分,主人公还待在熟悉的故土,2025年的部分却跑到了澳大利亚。不论从正反哪个方面看,这个设定都令人瞠目结舌。
The twist is audaciously conceived, but testifies to a fundamental lack of understanding of the Chinese diaspora, and the May-December relationship is shallow in its Freudian implication.
情节转折构思大胆,但也显示了对中国聚散观念的理解不够,以及对忘年恋在性心理层面的理解过于表面。
The year's most satisfying work belongs to Deep in the Heart, the directorial debut of Xin Yukun. It was titled The Coffin in the Mountain when it first ran on the festival circuit in 2014.
今年最令人满意的作品当属忻钰坤的处女作《心迷宫》。其实这部电影最初是以《殡棺》为片名于2014年出现在电影节上的。
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