朋友之间
丹尼尔·奥特伊,热拉尔·朱尼奥,François Berléand,Zabou Breitman,Mélanie Doutey,Isabelle Gélinas,Justine Bruneau de la Salle
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爱的艺术2020
이별을 죽는 것처럼 힘들어하던 나린은 남자친구 은찬과 한 달의 이별 유예기간까지 두어가며 이별을 받아들이려 하지 않는다. 하지만, 직장인 레코드 회사에서 ‘사랑의 역사’ 컴필레이션 앨범 제작이라는 새로운 프로젝트를 맡게 되면서 본의 아니게 ‘이별’에 대해 누구보다도 고민해 봐야 하는 입장에 처하게 된다. 그렇게 이별의 목적을 찾고자 했던 여정에서 나린이 마지막으로 마주한 것은 다름 아닌 처음 은찬과 만났을 때 빛나던 자신이었다. 다시 자신을 사랑할 수 있게 된 나린은 이별을 받아들이고 새롭게 출발할 용기를 갖게 된다 2019년 제15회 제천국제음악영화제 한국 음악영화의 오늘 - 장편
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更多 →251月
巴黎不存在
This film marks the directorial debut of Robert Benayoun. An artist (Richard Leduc) attending a party smokes some dope and develops the ability to see into the future and the past. He returns to his apartment where he sees the vision of a woman who had lived there 30 years ago. A friend tries to convince him it is his heightened sensitively as an artist that allows for the newfound abilities, but he soon has psychedelic hallucinations and his abilities increase with time. Stop-motion photography is effectively used in his sequence of visual experiences where the people exist but not the city in this metaphysical story.
281月
一线希望
迈尔斯·特勒将出演生存题材新片[一线希望](Not Without Hope，暂译)。本片由鲁伯特·温莱特执导，根据同名小说改编，E. Nicholas Mariani撰写剧本，讲述2009年发生的一起划船悲剧，4位朋友在墨西哥湾遭遇狂风暴雨后，不得不在团队合作和耐力的终极考验中奋力求生。
022月
等待方舟
Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.