The film gives dimensionality to minute details of the painting, not so much in the sense that the characters are given narratives and personalities, but in the sense that they given weight through their endless repetition of the extremely mundane of activities. The shots of domestic life are so especially deliberate, creeping, painterly composed and lit that you can almost feel the body heat radiating off each frame. Oh, and there's a bit of a story which attempts to explain the context in which the painting was conceived and the composition of the work itself, delivered in the only, and extremely annoying, dialogue in the film. Overall, watching this is like immersing yourself in examining a painting for one and half hours, which, if you like that sort of thing, can be pretty great.
mb,这是迄今看过的画面最精致的电影,每一个镜头拉出来都是一幅精美的油画,不得不佩服摄像师傅的功力了,什么姜文、什么艺谋,比起来都只不过文艺范的屁玩意,这个,在我小小的宇宙观里,绝对前无古人了,mb的,也就只能这样了,除了画面,除了道具,除了那个胖丫头,mb的,我还记住了什么?mb的,却谋杀了我整整1小时35分钟!
就像一个善于做作的风情娘们儿,凭窗而坐,酥胸半敞,却满脑袋浆糊。
什么,导演很有才,很有深度?
ok,小爷输了,小爷满脑袋浆糊~~
把这部片子和彼得·格林纳威的《夜巡》做比较很奇怪。两个导演的风格不同,对于电影的态度不同,对于人生的思考更是不一样。两部电影完全没有可比性。唯一共同点仅仅是都围绕一幅名画。
这电影最初上映并不是在电影节或者院线,而是在博物馆。一部完美展现名画背后的故事的作品,重点在于,主人公是那幅画。
导演运用非凡的想象力把场景、人物融入到名画中,用画家的工作来串联名画的背景。最大的创造在于,不完全依托于叙事来呈现一部电影。在艳丽的色彩中表现关于这张画的背后。
透过这幅画,想到流传下的艺术品的价值,记录、表现、思索、穿越……
看了一下导演的资料,导演很喜欢宗教题材,很喜欢像油画一样的表现力。
《磨坊与十字架》| 纵火的基督
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