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今年台北電影節  只看了兩部片
"新娘快跑"和"天堂此時"
都是巴勒斯坦電影
(是的 在百廢待舉的那塊土地上
還是有個叫"巴勒斯坦電影基金會"的機構
同時也是"新娘快跑"的製作公司)
 
天堂此時("Paradise Now")的DVD其實買了兩年了
為什麼有DVD還要進電影院看?
說來好笑  因為當初想都沒想  就在阿嬤爽下單
完全沒想到美國是2區的片  台灣根本不能看...


 
兩部片看完的共同感覺  就是兩個字:苦笑
不知道是不是長年面對不公不義
電影中的巴勒斯坦人總是有種自我解嘲的性格
 
比方說
"天堂此時"裡的炸彈客第一次任務失敗
回到巴勒斯坦給民兵同志拆炸彈
膠帶黏得他不禁抱怨:你要不要一口氣撕下來?
同志回答:我哪想到會有需要撕下來的一天?


 
"新娘快跑"的故事
全在一天之內發生
正確來說  是清晨到黃昏
17歲的Rana  不想嫁給老爸欽點名單裡的對象
因此得在下午四點  老爸遠走埃及前
找證婚人為她和劇場導演男友證婚
一連串波折  猜疑  爭吵  和敵視後
小倆口婚是結成了--
只是場面頗為突兀
夕陽餘暉  雙方親友在以色列設立的檢查哨前歌舞
最後  影片以巴勒斯坦詩人Mahmoud Darwish的詩--
"The State Of Siege"作為結束
 
已經很久不讀詩了
電影摘錄的只有前幾段
看了之後很感動  把整首詩找了出來
鴻鴻曾將部份翻成中文
不想看英文的可以把找來看


Under Siege
   
 
Here on the slopes of hills, facing the dusk and the cannon of time
Close to the gardens of broken shadows,
We do what prisoners do,
And what the jobless do:
We cultivate hope.

***
A country preparing for dawn. We grow less intelligent
For we closely watch the hour of victory:
No night in our night lit up by the shelling
Our enemies are watchful and light the light for us
In the darkness of cellars.

***
Here there is no "I".
Here Adam remembers the dust of his clay.

***
On the verge of death, he says:
I have no trace left to lose:
Free I am so close to my liberty. My future lies in my own hand.
Soon I shall penetrate my life,
I shall be born free and parentless,
And as my name I shall choose azure letters...

***
You who stand in the doorway, come in,
Drink Arabic coffee with us
And you will sense that you are men like us
You who stand in the doorways of houses
Come out of our morningtimes,
We shall feel reassured to be
Men like you!

***
When the planes disappear, the white, white doves
Fly off and wash the cheeks of heaven
With unbound wings taking radiance back again, taking possession
Of the ether and of play. Higher, higher still, the white, white doves
Fly off. Ah, if only the sky
Were real [a man passing between two bombs said to me].

***
Cypresses behind the soldiers, minarets protecting
The sky from collapse. Behind the hedge of steel
Soldiers piss—under the watchful eye of a tank—
And the autumnal day ends its golden wandering in
A street as wide as a church after Sunday mass...

***
[To a killer] If you had contemplated the victim's face
And thought it through, you would have remembered your mother in the
Gas chamber, you would have been freed from the reason for the rifle
And you would have changed your mind: this is not the way
to find one's identity again.

***
The siege is a waiting period
Waiting on the tilted ladder in the middle of the storm.

***
Alone, we are alone as far down as the sediment
Were it not for the visits of the rainbows.

***
We have brothers behind this expanse.
Excellent brothers. They love us. They watch us and weep.
Then, in secret, they tell each other:
"Ah! if this siege had been declared..." They do not finish their sentence:
"Don't abandon us, don't leave us."

***
Our losses: between two and eight martyrs each day.
And ten wounded.
And twenty homes.
And fifty olive trees...
Added to this the structural flaw that
Will arrive at the poem, the play, and the unfinished canvas.

***
A woman told the cloud: cover my beloved
For my clothing is drenched with his blood.

***
If you are not rain, my love
Be tree
Sated with fertility, be tree
If you are not tree, my love
Be stone
Saturated with humidity, be stone
If you are not stone, my love
Be moon
In the dream of the beloved woman, be moon
[So spoke a woman
to her son at his funeral]

***
Oh watchmen! Are you not weary
Of lying in wait for the light in our salt
And of the incandescence of the rose in our wound
Are you not weary, oh watchmen?

***

A little of this absolute and blue infinity
Would be enough
To lighten the burden of these times
And to cleanse the mire of this place.

***
It is up to the soul to come down from its mount
And on its silken feet walk
By my side, hand in hand, like two longtime
Friends who share the ancient bread
And the antique glass of wine
May we walk this road together
And then our days will take different directions:
I, beyond nature, which in turn
Will choose to squat on a high-up rock.

***
On my rubble the shadow grows green,
And the wolf is dozing on the skin of my goat
He dreams as I do, as the angel does
That life is here...not over there.

***
In the state of siege, time becomes space
Transfixed in its eternity
In the state of siege, space becomes time
That has missed its yesterday and its tomorrow.

***
The martyr encircles me every time I live a new day
And questions me: Where were you? Take every word
You have given me back to the dictionaries
And relieve the sleepers from the echo's buzz.

***
The martyr enlightens me: beyond the expanse
I did not look
For the virgins of immortality for I love life
On earth, amid fig trees and pines,
But I cannot reach it, and then, too, I took aim at it
With my last possession: the blood in the body of azure.

***
The martyr warned me: Do not believe their ululations
Believe my father when, weeping, he looks at my photograph
How did we trade roles, my son, how did you precede me.
I first, I the first one!

***
The martyr encircles me: my place and my crude furniture are all that I have changed.
I put a gazelle on my bed,
And a crescent of moon on my finger
To appease my sorrow.

***
The siege will last in order to convince us we must choose an enslavement that does no harm, in fullest liberty!

***
Resisting means assuring oneself of the heart's health,
The health of the testicles and of your tenacious disease:
The disease of hope.

***
And in what remains of the dawn, I walk toward my exterior
And in what remains of the night, I hear the sound of footsteps inside me.

***
Greetings to the one who shares with me an attention to
The drunkenness of light, the light of the butterfly, in the
Blackness of this tunnel!

***
Greetings to the one who shares my glass with me
In the denseness of a night outflanking the two spaces:
Greetings to my apparition.

***
My friends are always preparing a farewell feast for me,
A soothing grave in the shade of oak trees
A marble epitaph of time
And always I anticipate them at the funeral:
Who then has died...who?

***
Writing is a puppy biting nothingness
Writing wounds without a trace of blood.

***
Our cups of coffee. Birds green trees
In the blue shade, the sun gambols from one wall
To another like a gazelle
The water in the clouds has the unlimited shape of what is left to us
Of the sky. And other things of suspended memories
Reveal that this morning is powerful and splendid,
And that we are the guests of eternity.
 
 

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為什麼可以好好拍的一部片
"第十一個小時"卻能拍成這樣?!



本著政治正確的主題
原本這種片也是應該給他拍拍手
但純就紀錄片的觀點
這真的是一部很‧難‧看的片子

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要不是今天親耳聽到、親眼看到,我還真不知道有這段歷史:原來許多大家熟悉的西部片,其實是Made In Italy

故事要從荒野大鏢客說起。是
1964年那部,不是最近幾個嘻皮老頭騎歐多賣的那部荒野大「飆」客。


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這年頭,紀錄片如果有企業形象或政治人物的加持
通常可以賣得比較好
像無米樂、像生命、還有...
以高爾針對"全球暖化"演說為主軸的"不願面對的真相"

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我:「XD,現在的國片是怎樣?比起來,聖夏光年還算好的,我還在電影院,我要看一年之初可以爛到什麼程度…」
S:「你現在正在看嗎?不要氣到爆血管」
我:「我在賭氣,這部片有你討厭的各種元素:海邊、隧道…,我在等大叫和奔跑…」
S:「哈哈…」

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我,是不是有點走火入魔了...
感謝我那萬能的姪女湘婷,讓我夢裡都微笑...



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上禮拜六,我報名了義大利文初級課程,在從義大利回來後。

『義大利初級課程』(Italian For Beginners)也是幾年前金馬影展的片。逗馬宣言的丹麥女導演作品。六個男女懷著不純正的動機,報名了義大利語課程。怎麼個各懷鬼胎法?看這部片的另一個名字『戀愛學分保證班』就很清楚了;說它是浪漫愛情喜劇,似乎太過於簡略,但它至少不像其他逗馬的片(我不會不喜歡拉斯馮提爾的片,只是每次看完都會很想死…),那麼灰沈陰暗。

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最近不知道走了什麼衰運 被我碰的電腦一台掛過一台
加上經濟拮据 又要開始過稿債纏身的日子...

勞工影展的牙買加紀錄片 翻得我有點心力交瘁
常常都是這樣 翻完route181也是

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為什麼明明是一部浪漫唯美愛情電影,卻看得我驚心動魄、冷汗直流?
Se souvenir des belles choses—To remember the beautiful things—克萊兒在

慢慢失去記憶前寫在筆記本上的話。電影最後,她已經記不得她在松鼠療養院邂逅的

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看這部片的時候正好碰上阿拉法特過世。11/11到現在...還未滿百日

Route181是去年台北紀錄片雙年展(http://www.tidf.org.tw/)的特映。片名181的由來,是聯合國在一九四七年通過的181號決議案。這項在英美強渡關山通過的決議案,種下日後以巴衝突的禍根。因為它違反了聯合國憲章尊重人民自決的宗旨,將巴勒斯坦這塊土地的大部分(57%)給了少數的猶太人,而世居加薩走廊、約旦河西岸的阿拉伯人的土地,卻從原來的97%縮減為43%。

半個世紀後,兩位巴勒斯坦和以色列籍的導演Michel Khleifi、Eyal Sivan,沿著181決議案畫下的虛擬國界、由南向北展開。270分鐘史詩般的影片中,導演訪問邊界沿線的以色列駐軍、屯墾區居民、巴勒斯坦難民,以及住在以色列境內的阿拉伯人。有被以軍搗毀後的難民營,巴勒斯坦人控訴他們如何連夜打包行李、一個老婦哭訴「有誰願意自己小孩去當suicide bomber?」、有隨戰後大規模移民潮來到以色列的猶太,說她後悔當初幫以色列督察執行秘密任務、矇騙了包括她父親在內的猶太人移民以色列。也有猶太移民驕傲的訴說當時如何透過猶太基金會的幫助,將巴勒斯坦人的土地變成以色列國土...對支持以色列建國的人,這部片或許頗刺眼,但它卻是由一段段真實故事串連,導演在拍攝筆記中有這麼一段話:

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