丽芙与英格玛
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5.0 |05月05日 |HD中字
简介:
2012年芝加哥國際影展「金雨果獎」最佳紀錄片提名。迪拉吉阿柯卡爾導演,紀錄影響無數電影工作者的影壇宗師-英格瑪柏格曼(Ingmar Bergman),幕前幕後的創作歷程。全片柏格曼透過寫給心中「繆思女神」麗芙烏曼(Liv Ullmann)的情書,並穿插柏格曼多部影壇重要作品及幕後經典畫面,引領觀眾揭開傳奇電影羅曼史。  與英格瑪柏格曼(Ingmar Bergman)擁有超過長達42年情誼的傳奇女星-麗芙烏曼(Liv Ullmann),透過柏格曼寫給她的情書,望現這段影壇浪漫半生緣。柏格曼在寫給麗芙烏曼的情書中,形容這段愛戀是「愛與痛的牽連」……  1965年,柏格曼拍攝電影界公認他最神秘的電影《假面》時,在片場邂逅羞澀的麗芙烏曼,當時他們擁有各自的婚姻,但兩人的愛火一發不可收拾,不僅同住5年並且育有1女,更共同攜手孕育了12部電影作品。麗芙烏曼亦在片中引用她的自傳【變】(Changing)的篇章,為這部紀錄片增添更私密的觸動。多位與柏格曼攜手創造影史經典的合作對象,包括當年也先後與柏格曼相戀的比比安德森(Bibi Anderson)、坎城影展影后英格麗圖林(Ingrid Thulin)等人,皆見證了兩人持續近半世紀,最具傳奇魅力的影壇愛戀之旅……  《柏格曼的缪思情缘》(Liv and Ingmar, Dheeraj Akolkar, 2012)  由印度新锐导演Akolkar编导的纪录片《柏格曼的缪思情缘》,集结一群跨国团队,以传奇女星丽芙乌曼的自传《改变》(Changing)为底,透过阅读书中摘录、柏格曼致丽芙的情书和穿插访问丽芙的镜头,将丽芙与已故大师柏格曼(录音或影像)阴阳两隔的对话,精准地搭上柏格曼经典电影中相应的片段,可谓巧思独具。全片主要于柏格曼在瑞典Faros岛的居所采访拍摄,风光如画,哀婉动人。  透过丽芙乌曼澄澈纯净的蓝眼、沉缓而深情的倾诉,我们随之望穿围绕她与伯格曼的碧海蓝天、狂风骤雨、无尽孤寂,以及伤痛逝去后迎来一个又一个春夏秋冬。大师已经远去,丽芙迈入暮年,曾经共同孕育一个新生命(他们有一个女儿)与十二部电影,延续近半世纪情谊的传奇,则由丽芙诗意而悲悯的回溯,巧妙的经典镜头剪辑,影中影外的人生起伏转折,于变幻无常之中留下几许永恒的印记。
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简介: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.
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