选集列表
剧情简介
A megalith rises from a sandy desert – or rather, a scale model of such a landscape. “I am the archive”, says a young female voice while ominous string music nails viewers to their seats. This opening sets the stage for the narrative and figurative language of Rithy Panh’s dense mnemonic essay which uses stunning dioramas to tell a twenty-first century dystopian story. After a century of genocidal ideologies and destructive speciesism, animals have enslaved humans and taken over the world. In a wave of hope, the statues of the past have been removed but new ones are being erected to suppress the will of the people. This is now a planet of apes, boars and lions, and a zoological revolution is reversing and recreating the atrocities of the 20th century. As animal figures watch the film archives of our world, it feels as if Lumière has been transported into a film by Méliès or Willis H. O’Brien. We are all well aware that history repeats itself first as tragedy, then as a farce. The time has now come for this farce, in which “political language inhabits our dreams and consumes us”, to allow the possibility of a “graceful and tender insubordination” to emerge.
观众心声
第一次看完全静止定格电影… I don't like it.导演太easy way out了 我不接受这样宏大的叙事被这样粗暴的逻辑所挟持
@Berlinale 一部作品想承载的内容太多了 取材完全在迎合西方凝视 纸黏土的巧思也难以弥补主题和剧情的薄弱 瑜不掩瑕
近几年的潘礼德几乎是在以一种好莱坞拍续集的“复制+升级”思路拍片，如苦行僧般观看素材、制作木雕，无限的自我沉浸换来的只能是更多的麻木。当然，2020年代，电影本身就已经足够无力，尤其在当下正发生的、真实的战争面前，艺术确实什么也做不了，我们似乎也不能真的要求太多。
目的与动机都充满了愤怒的偏激 没有必要形成这样的拼贴影像
C. 当一部电影一边高喊“电影只关乎权力”的口号，一边将自己解构到只剩一堆玩偶时，你确实也很难再用纯粹“电影”的角度去评价它。在这场大型的装置艺术里，所有议题（政治独裁、环境破坏、数字集权）都由旁白像划重点一样直给，再搭配档案影像的堆叠，完成一种所谓对“银幕霸权”的反制。但讽刺的是，这样粗暴的咆哮，难道不也正是另一种形式的propaganda吗？2022.2.13 Berlinale