O somma luce
影片信息
- 状态：HD
- 主演：Giorgio Passerone/
- 导演：让-马里·斯特劳布/
- 年份：2010
- 地区：法国
- 类型：未知
- 时长：内详
- 上映：未知
- 语言：其它
- 更新：2024-04-29 22:20
- 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
- 862
-
关注公众号观影不迷路
-
扫一扫用手机访问
8.0
网友评分
574次评分
扫一扫用手机访问
剧情简介
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
为你推荐
换一换-
正片8.0 卢克·海姆斯沃斯/摩根·弗里曼/Joseph Baena/
-
抢先版3.0 宋佳/钟楚曦/曾慕梅/章宇/赵又廷/任彬/张弛/周野芒/王菊/孔连顺/蒋易/杨英格/安栋/冯玛娅/
-
抢先版10.0 卡莉·史派妮/戴维·荣松/阿奇·雷诺/伊莎贝拉·莫塞德/斯派克·费恩/爱玲·吴/罗茜·伊德/索玛·西蒙/本斯·欧科克/维克托·欧利祖/罗伯特·勃洛克茨基/特雷沃·纽林/安妮玛丽·格里格斯/伊安·霍姆/丹尼尔·贝茨/
-
TC4.0 河合优实///吉田美月喜/
-
TS中字7.0 汤姆·哈迪/切瓦特·艾乔福/朱诺·坦普尔/斯蒂芬·格拉汉姆/瑞斯·伊凡斯/佩吉·陆/安迪·瑟金斯/克拉克·巴茨科/阿兰娜·乌巴赫/克里斯托·费尔南德斯/哈拉·芬利/达什·麦克劳德/布鲁克·卡特/伊沃·南迪/奥蒂斯·温斯顿/
-
正片5.0 索拉·伯奇/Makyla Smith/凯莉·林奇/艾利奥特·佩吉/迈克尔·莱利/
-
HD2.0 詹森·阿克斯///杰米·金///科尔·史密斯///贝特西·露///埃迪·盖瑟吉/
-
HD3.0 迈克尔·帕尔/Preston Geer/保罗·罗根/Neeley Dayan/塔米·克莱因/
-
HD4.0 赵英龙/马驰/王鹤贺/
-
TC5.0 比尔·斯卡斯加德/莉莉-罗丝·德普/尼古拉斯·霍尔特/亚伦·泰勒-约翰逊/威廉·达福/艾玛·科林/拉尔夫·伊内森/西蒙·迈克伯尼/斯泰西·图内斯/保罗·梅纳德/Gregory Gudgeon/Roman Bloodworth/
-
HD10.0 古铭瀚/
-
HD1.0 劳尔·布里奥内斯/鲁妮·玛拉/安娜·迪亚斯/莫泰尔·福斯特/劳拉·戈麦斯/奥德·菲尔/爱德华多·奥莫斯/桑多斯·莫斯巴赫/詹姆斯·沃特斯顿/李·R·塞拉斯/斯宾塞·格兰斯/伯纳多·瓦拉斯克/埃斯特班·凯塞多/内布利·巴萨尼/何塞·路易斯·佩雷兹/古斯塔沃·梅加杰洛/皮亚·拉波尔德-诺格斯/莎凡娜·卡德尔/玛丽亚·弗尔南达·博斯克/朱莉亚·哈尔蒂甘/
-
HD4.0 克里斯蒂昂·克拉维埃/尚塔尔·罗比/阿里·阿比唐/梅迪·萨东/弗雷德里克·周/诺姆·迪亚瓦拉/弗雷德里克·贝尔/茱莉亚·皮亚彤/艾米丽·卡恩/艾丽·赛门/
-
HD8.0 克里斯蒂昂·克拉维埃/尚塔尔·罗比/阿里·阿比唐/梅迪·萨东/
-
正片3.0 倪星/大岛由加利/元华/
-
HD5.0 松隆子/多部未华子/松坂桃李/星野源/朱钟赫/松本穗香/池谷伸枝/仓悠贵/古馆宽治/宇野祥平/饭冢悟志/菅原大吉/中村优子/每田暖乃/中川雅也/井浦新/
-
正片10.0 巴里·基奥恩/弗兰茨·罗戈夫斯基/詹姆斯·尼尔森-乔伊斯/贾思敏·乔布森/里斯·耶茨/Joanne Matthews/弗兰琪·波克斯/妮基娅·亚当斯/Jason Buda/
-
HD8.0 黄宥天/朱丽岚/金玄雨/赵熠洋/廖茉汐/王荣宏/
-
HD2.0 未知
-
HD3.0 Kelly Sheridan/Kathleen Barr/Nakia Burrise/
