绝望的一天

  • 特丽莎·马德鲁加 马里奥·巴罗索 路易斯·米格尔·辛特拉 迪奥哥·多瑞亚 Canto e Castro 鲁伊·德·卡瓦略
  • 120分钟
  • In1992OliveiramadeODiadoDesespero,whichdealswithth… In1992OliveiramadeODiadoDesespero,whichdealswiththelastdaysandsuicideofRomanticnovelistCamiloCasteloBrancoandisbasedlargelyonthewriter'sletters.MostofitwasfilmedinthehousewhereCasteloBrancoinfactcommittedsuicide.Thefilmopens,midwaythroughthecredits,witha50-secondstaticshotofapen-and-inkportraitofthewriter.Otherportraits,alwaysshotwithastaticcamera,punctuatethefilm'snarrative,lendingitadocumentarytonefromtheoutset. Thespectatormightexpect,atthispoint,thatthe“story”willnowbegin.However,themanseatedatthedeskstandsup,facesthecamera,andintroduceshimselfastheactorMárioBarroso,whowillbeplayingtheroleofCamiloCasteloBranco(andwhoplayedCasteloBrancointheearlierFrancisca),andoffersinformationaboutthewriter.Abitlaterinthefilm,AnaMadruga,theactresswhoplaysCasteloBranco'scompanionAnaPlácido,doesthesamething,atthesametimebrieflyservingasa“guide”totheCasteloBrancomuseumwherethefilmwasshot.Despitetheexistenceoftheseostensibly“documentary”elements–thehouse,theportraits,theactorspresentingthemselvesassuch–ODiadeDesespero,Oliveirainsists,isafictionfilm,butitisonethatrefusestodeceivethespectator(inBaecqueandParsi,56)bypretendingtobewhatitisnot.InODiadeDesesperoandotherfilms,ManoeldeOliveiraquestionstheontologicalstatusofsuchtermsas“fiction”and“documentary”andchallenges,throughthepursuitofhisowncinematicvision,someofthefilmicandnarrativeconventionsthathavecometodominatemainstreamcommercialcinema.Hisfilmsalsochallengethespectatortothinkabout,ratherthanpassivelyaccept,thatwhichisshownonthescreen.

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