The Polish doco for the BFI’s Century of Cinema distinguishes itself from all the others in the series by being the only one not to have any film critics, academics, directors, etc providing a commentary. Instead it takes the refreshing route of having ordinary people of all ages talking about what’s special to them about movies – so we get some old folks describing their first trip to the cinema when a lot of people didn’t even know what a film was, memories of what it was like to go to the movies as children, teenagers, and adults before, during, and after WWII, and especially the key scenes from films that have made lasting impressions upon them (not unexpectedly, Wajda’s KANAL strikes a nerve), which are shown in accompaniment, so that it becomes the interviewees who ultimately decide what’s shown in the doco. This kind of stuff is what the ‘100 Years of Cinema’ celebration is really about.
第一次见温贞菱演这样的角色还真是不适应呢!
台灣拍的文藝片確實還是很有特色。尤其是那種慢節奏的精緻,把孤獨的情感一絲一絲地剝開,冷酷而輕柔。女主角幾乎全素顏出演,反而讓內藴的氣質張揚,男主角邪邪的笑透露出一種孤獨的善良。豆瓣給2星的人那麼多,實在是不識貨。
正常人会先从杀人犯那里逃走然后报警,不是当着面拆穿杀人犯杀了人当着面报警。这片女主还活着唯一的原因是导演想让她活。
范少勋给我一种十年后依然在看十年前的校园疼痛文学的感觉,莫允雯always是有破碎面的精英,三个主角里面可能温贞菱的表现最好,贡献了98分钟里一大半有效内容
比韩国原版《走投无路》差,比大陆翻拍《破局》好。节奏明快是特点。
看到一半感觉是谁都不能相信 剧情一般 让我想起了尼罗河惨案 其实就是人还是要相处 而且第六感很准就是了😬
剧名只写了不想一个人,但并没有说是什么情感羁绊。
打四分,全程没有看进度条,情节紧凑,景色优美,反转合理。闺蜜很性感,城市很美。
总要生出悲天悯人的气质才好呢
反转,反转,再反转,不管合不合理,就是翻来覆去得转
没有走出 it’s always the husband. 收尾草率了。
不知所云啊看电影很少倍速但这部实在是无聊得不倍速就要睡着,但是画面很好看
也算是讲了完整故事 就一般家庭狗血剧一类 跟血光没啥关系
一些隐喻真的拍手叫绝!!!
好多年没看见莉顿了 好吧 每个事业低谷的女星都会经历的网飞大数据电影
注定会是一部小众电影
前半段跟韩国版基本照搬 后半段收的有点仓促
也算是讲了完整故事 就一般家庭狗血剧一类 跟血光没啥关系
片子不错啊,这分太低了,片子好几个反转,不到最后都不知道谁是才是凶手,女主也好惨,被闺密和老公双坑!!!!
一部片子5/7的渣男率哈哈,挺属实的就是说
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