播放列表
故事掠影
Tú me abrasas is an adaptation of “Sea Foam”, a chapter from Cesare Pavese’s “Dialoghi con Leucò” published in 1947. The ancient Greek poet Sappho and the nymph Britomartis meet beside the sea and have a conversation about love and death. Sappho is said to have thrown herself into the ocean from lovesickness. Britomartis apparently tumbled off a cliff and into the water while fleeing from a man. Together, the two discuss the stories and images that have emerged around them to try and understand, at least for a moment, the bittersweet nature of desire. The film adapts not only the text but also footnotes and gaps in the story. For example, the fact that, in 1950, a desperate Pavese committed suicide in a hotel room with this book by his side. Or that Sappho’s poems have survived only in fragments. Or that sea foam is historically and scientifically associated with fertility and bacteria, that is, with life itself. “Everything dies in the sea and comes back to life,” says Britomartis. Tú me abrasas introduces new readings and translations that go beyond the myths by Pavese and Sappho.
观众心声
–，影像之诗，诗之影像。落点还是简单了些，但我真的好喜欢这个影调，胶片和音乐都很美丽…
比导演上一部除了美术馆方形色块大赏之外让人毫无印象的《伊莎贝拉》要好看一些，起码本片中声画分离的“画”是赏心悦目、让人感觉就算是纯去看也是有一些意义的。可是这个“声”真的就马上把观感一下子拉下来了，对于古希腊诗歌和文学无底洞式的朗诵与分析本就让人望而却步，毫无波澜的无休止重复如同鬼畜视频一般更是让人心生厌烦，不是说实验式电影的存在有问题，但是这种呈现方法实在是空洞到如同阳光下的泡沫一样全都快爆掉了，实在是不知道好在什么地方，要是再长一点的话真的要让人原地去世了。
【香港国际电影节】与其说是电影，还不如说是一种实验影像，各种停格、重放、声画错位，均让人倍感迷惑，更像是导演对这位意大利作家的影像化阅读报告。喜欢挑战传统叙事片的影迷不妨一看。
#10319. 74th Berlinale-奇遇。7分。本片的一些尝试很有语言学和电影符号学想法，比如尝试通过将声音能指与（无关的）运动影像（短时长的单镜头）连接起来，重复三遍再抽去声音，而赋予该影像以某种”不在的能指“；在打破能指所指链条之后，再进行新的蒙太奇组装（这个玩法挺有意思的）；同时又将记录声音能指的单词的图像带进画面序列当中（主要是本片基于的两本书，尤其是萨福的诗作残稿），并以多种媒材来进行声画方面的组合实验。做得很有创意，挺适合搞电影理论的学院派写论文的……
指尖抚过纸页，伴着文字的回甘，时间被剪辑悄悄折叠，连呼吸都变得格外轻缓。