父子森情

• 别名：森,父子森情
• 清晰：BD
• 类型：
• 主演：Mariusz Bonaszewski Stanislaw Brudny
• 年代：2009 / 波兰 / Piotr,Dumala
• 导演：Piotr Dumala
• 国家/地区：波兰
• 时长：120分钟
• 语言/字幕：国语对白 中文字幕
• 年代：2009
• 更新时间：2024-04-18 16:38:46
• 影视/评论：当前有0条评论，
• 详细介绍： TheForest”isablackandwhiteexperimenta… TheForest”isablackandwhiteexperimentalfilm.Theactionofthefilmtakesplaceintwoperiodsoftime.Anoldmanleadshissonthroughaforest,andissimultaneouslyunderhiscareconfinedtobedwithadeadlyillness. Thefilmattemptstoportraytheboundaryzonebetweenlifeanddeath.Itexaminesthedifficultrelationshipofunderstandingbetweenfatherandson.Theyaretobecombinedwithequalrightsinanimatedandactedscenes.Theformalessenceoftheideaistheseamlessmountingpenetratingthesetwoworldssothatthechangeabilityisvirtuallyunnoticedbytheaudience,butacceptedincidentallyastheuniformlanguageofthetale.Thecontemporaryandforestthemesdonotsignifyaseparationoftheliveandanimatedaction.Theyfulfilthemselvesintheliterarysenseandcreateanimpressionofparallelcoexistingworlds,wherethesamepersonsmayexperiencedifferentfates. Theessenceofbothstoriesistherelationshipbetweentheveryoldmanandthemaninmiddleage.Thisco-dependency,inwhichthequestionsofdomination,cooperation,love,sacrificeanddeathappear.ThehistoryofthemanintheforestisconnectedwiththebiblicalthemeofAbrahamandIsaac.Thestoryoftheillfatherandhissonisharshandtothecontrarynatural.Boththemesruninparallel,butasifinoppositedirections.Certaindramaticpointsseemrelatedandmutuallypenetrating,reachingculminationinthesceneofmurderintheforestandinthesceneoftheopeningeyeofthedyingfather. Theco-dependenceoffourmalefiguresintwomalepersonsistoleadtotouchingthesecretsofdeath.ThetitleForest,inspiredinanunusualdream,isametaphorforthecollectivefatesofallpeople. Themethodoffilmingapproachesthatofadocumentary.Ithappensasanunseenentrancetotheworldofmythandpurecreation.Blackandwhiteimagesandminimaldialoguehavetheeffectthatimageandsynchronisingeffectsconstitutetheprinciplelanguageofthestory.Thisalsoislinkedtothemastersoftheeraofsilentfilms,suchasDreyerandMurnau. TherewerefewfilmsinthecompetitionthatIwantedtolikemorethanthelive-actionfeaturedebutofPiotrDumała,oneofthemostdistinctiveanimationtalentstohaveemergedinPolandinthelastthreedecades,whichissayingsomething(Łagodna,hiscrepuscularadaptationofDostoyevsky’s‘AGentleSpirit’,isarguablysuperiortoUneFemmedouce,RobertBresson’sbetter-known1969version).Certainly,iftheEraNewHorizonsfestivalhadacinematographyprize,AdamSikorawouldhavewonithandsdown.AlmostanyrandomframeofTheForestcouldbeenlargedanddisplayedasafine-artphotographicmasterpiece:theforestexteriorsareimbuedwiththesamemysteriouspotencyasaTarkovskydreamsequence,whilethespartaninteriorsshowthesamemeticulousattentiontocomposition,lightingandsetdecoration,achamberpotislitwiththesamelovingcareasthehumanface.Butunsympatheticperformancesfrombothleads(StanisławBrudnyastheelderly,bed-riddenfather,MariuszBonaszewskiashisson,whosefractiousrelationshipdrivesthefilm)endedupprecludingwhatIassumewastheintendedemotionalinvolvement-althoughdialogueiskepttoanabsoluteminimum,itmighthavebeenmoreeffectivewithnoneatall.ButDumałaremainsamajortalent(ananimatedprologuesuppliesahandyreminderofwherehisreputationspringsfrom),andI’llbefirstinthequeuetoseewhateverhecomesupwithnext. 详情