星空傳媒劇情簡(jiǎn)介
? ⅰⅱⅲ巴西新電影的輝煌典范 ！ MatouaFamíliaeFoi ao Cinema是90年代最令人震驚的巴西電影 。作為具有相同名稱的Cinema Novo經(jīng)典杰作的重拍 ，這部電影讓我們感受到了一種感情和懷疑的風(fēng)暴
。在這個(gè)版本中 ，原始導(dǎo)演Julio Bressane重新編寫(xiě)了劇本 ，以最好地適應(yīng)新的非人道罪行概念。亞歷山大·弗羅塔（Alexandre Frota）是一個(gè)痛苦的家伙 ，他殺死了這個(gè)家庭并且去看電影 ，好像它并不重要 。他當(dāng)時(shí)是最有潛力的即將到來(lái)的藝術(shù)家 。 Frota今天是一個(gè)色情明星。該角色的軌跡應(yīng)與羅迪亞拉斯科利尼科夫在陀思妥耶夫斯基撰寫(xiě)的文學(xué)經(jīng)典“罪與罰”中所做的比較。受洛克影響的導(dǎo)演的先鋒位置向我們展示了殺手的真正困境，即人類的模糊性 。我們可以在著名的犯罪現(xiàn)場(chǎng)中看出尼采的一些實(shí)證主義影響 。為了給我們一種現(xiàn)實(shí)感 ，導(dǎo)演內(nèi)維爾用異國(guó)情調(diào)的色彩拍攝他的電影，在我們的時(shí)代插入紫色和白色的傾向 。在他的電影作品無(wú)可挑剔的情況下 ，內(nèi)維爾記得我們看過(guò)偉大的電影經(jīng)典作品
，如“仙境的秘密魅力”和許多IstvAnSzabó圖片 ，如墨菲斯托 。 MatouaFamíliaeFoi ao Cinema以不完美的配角為主，是巴西電影中最佳代表。傳奇巴西地下電影杰作《殺死家庭看電影去》有兩個(gè)版本 ，69年的原版和91年的這本翻拍版 ，導(dǎo)演Neville de Almeida同樣來(lái)自70年代的“邊緣電影”運(yùn)動(dòng)，此次與前輩Júlio Bressane共同改寫(xiě)了部分章節(jié) ，卻達(dá)到了意想不到的效果和好評(píng)，當(dāng)然影片原本就有的反叛另類風(fēng)格依然得以延續(xù)
。。。 A brilliant exemplary of the Brazilian new cinema! Matou a Família e Foi ao Cinema is the most astounding Brazilian movie of the 90's. As a remade of the classic masterpiece of the Cinema Novo with the same name, the movie drive us to a storm of feelings and doubts. In this version Julio Bressane, the original director, rewrote the script to best fit the new conception of an inhuman crime. Alexandre Frota is the tormented guy who kills the family and goes to the movies as if it doesn't really matters. He was at the time the most promiser upcoming artist. Frota today is a porn star. The trajectory of the character should be compared with the one made by Rodya Raskolnikov in the literature classic 'Crime and Punishment' written by Dostoyevsky. The director's vanguard position influenced by Locke shows us the real dilemma of a killer, the ambiguity of the human being. We can discern some Nietzsche's positivism influence in the picture as in the famous crime scene. To give us the sense of reality, Neville, the director, shot his movie in an exotic distribution of colors, inserting the purple and white tendency in our times. In his movie's composition impeccable, Neville remembers us of great cinema classics such as The Discreet Charm of the Burgeoisie and many of IstvAn Szabó pictures, such as Mephisto. Counting with a undefectable supporting casting, Matou a Família e Foi ao Cinema is the best representer of what's happening in the Brazilian cinema.
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蔣萬(wàn)勛
夏卡毛樂(lè)團(tuán)
