决斗

决斗

年份:1976

地区:法国

上映:1976-09-15

评分:7.6 分

播放:40 次

更新:2018年10月14日

导演:雅克·里维特

编剧:爱德华多·德格雷戈里奥|玛丽卢·帕罗利尼

主演:朱丽叶·贝尔托|布鲁·欧吉尔|让·巴比雷|埃尔米娜·卡拉戈厄|妮可·加西亚

分类:剧情|悬疑|奇幻

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep.
  Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ.
  But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality.
  Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle.
  The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked.
  The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood.
  And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.
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McLwren

一个叫Pierrot的男人和一块魔力pierre,我暂且肤浅地认为可以合并思考,镜中的情敌和满月的嫉妒,死亡并不代表消失。里维特这个虚构系列,都在一定的纪录片框架下讲述奇幻,可以说这一部最为晦涩,也最纯粹,同时他的电影让人对喜欢一部电影是否需要理由产生疑问。

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阿树

從希治閣的麥高芬,到都市傳說與神話的解構,李維特把拍電影變成了一種遊戲,比高達更自由。但在相對收窄的時長裏,即興變成了更精準的控制,每一場戲的走位,到攝像機鏡頭移動的調度,都有更嚴格的控制。無論燈光或演出,更接近劇場的概念。動作戲的呈現,有種默片時的滑稽氛圍

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何阿嵐

Hitchcock溝Jean Cocteau,所以尋石也只不過是麥高芬的體現,破玻璃來打破空間與時空。日月明暗大鬥法,復仇陰謀戲班依舊上演,最重要是一班女生依著鏡頭前和你氹氹轉,故事,人物關係也變得不再重要。平行生活系列是一場場敘事和類型的實驗,比Godard來得瘋狂,也只有Duras和Resnais的成就可以比擬。

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