《毒贩》以黑帮片的形式,对一个走下坡路的年轻人进行了精湛的人物刻画。与大多数柏林学派电影一样,这是一部凄凉的电影,但阿尔斯兰的精确度令人惊讶。他对动作(或者说非动作)的构图几乎是几何的,阿尔斯兰对空间有着敏锐的眼光——空间在他的电影中大多是空的。他的角色迷失在城市中,尽管他们从不孤单。抛开所有传统的胡言乱语,如性格心理学或同理心,“经销商”仍然像他的主角一样反复无常。这是阿尔斯兰的“贝林三部曲”的[展开全部]
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13-year-old Marek shoots videos with social themes, making him an outsider among his classmates. At home, his peaceful relationship with his mother is disrupted by his mother’s new acquaintance. In the most sensitive phase of his life, he meets Tereza. Despite their social differences, they develop a liking for each other. Soon teenage games spiral out of control with a simulated kidnapping, culminating in running away from home. They board a train and a series of spontaneous adventures ensue until they get lost in a labyrinth of endless freedom.
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更多 13-year-old Marek shoots videos with social themes, making him an outsider among his classmates. At home, his peaceful relationship with his mother is disrupted by his mother’s new acquaintance. In the most sensitive phase of his life, he meets Tereza. Despite their social differences, they develop a liking for each other. Soon teenage games spiral out of control with a simulated kidnapping, culminating in running away from home. They board a train and a series of spontaneous adventures ensue until they get lost in a labyrinth of endless freedom.