剧情介绍
Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, The Death of Louis XIV (2016). This Sun King features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films. Very different body weight, here in expansion, there in retention; a different way of putting his face in it: there, at the service of an astonished child’s gaze, here, singularly chubby, as if extending without any solution to all of his corpulence; here, the invention of sovereignty constantly reinvented, and there, the kingdom of innocence vaguely struck by idiocy. And the props: if the tale in the first version needed Versailles or an imitation of it, the second one reduces the palace to a luminous halo. True, this time we are stuck between bare walls, white-washed with pink coating (the color of twilight?) under neon lights at the ceiling. Here, for a long time, this king has been left to his own devices, moaning on the floor, with a stomach ache as severe as it is hilarious, with rare trinkets all around. Then we see spectators entering the field to see Her Majesty’s rants, his hair (as wigs were called then) and sumptuous clothes characteristic of that era, and spectators dressed in anorak. So what, then: capturing a performance? If the art gallery really frames the ? action ?, what we find here is calculation, cutting up, montage; in short: a film, and no misunderstanding. And a film whose paths familiar to everyone Serra’s work point to: aristocracy in all its grandeur, its stupidity and its agony, the representation of power, the forces of art. Between the sublime and the grotesque, between derision and the derisive, between Bu?uel and Dali, a royal figure engages in a quest for his death mask.
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文森特九六
其实挺简单的,巧在作品间形成的彼此互为反身性。
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2020年12月27日
_kevvv
就是觉得可以拍更短啊。这么长的文本设置其实完全多余啊...不就是前后的一个反差式互文来突表主题吗?那么在做前半段铺垫的时候不需要啰里八嗦这个也呈现那个也呈现,而结尾真的“内容定格”太长了,放到艺术馆展厅里还差不多...
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2020年11月25日
介意
@FSLC. “Enjoy the suffering” (Serra’s introduction) doesn’t really sum it up; it culminates in a cue of the parody of that culmination.
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2020年12月27日