《楚教授快說你喜歡我》劇情簡(jiǎn)介
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《楚教授快說你喜歡我》相關(guān)評(píng)論
鋸栗子??
波蘭電影大師展|大光明電影院 浮生一夜的列車上折射出現(xiàn)代的疏離,密閉空間內(nèi)濃縮了一個(gè)小型社會(huì),攝影機(jī)在在狹窄的火車過道間依舊游刃有余,配樂神秘且前衛(wèi),虛偽的正義感,傾倒的十字架,小品式的吃瓜群眾眾生相,車廂內(nèi)外對(duì)比延生出一種無限的縱深感。“所有人都不想去愛,所有人都想要被愛。”
我也不在乎
Ingmar Bergman may have meant the tank rumbling down the empty night street in The Silence as a phallic symbol. But if he did, it was a foolish thought. (“Never trust the teller, trust the tale,” said Lawrence.) Taken as a brute object, as an immediate sensory equivalent for the mysterious abrupt armored happenings going on inside the hotel, that sequence with the tank is the most striking moment in the film. Those who reach for a Freudian interpretation of the tank are only expressing their lack of response to what is there on the screen.


