A film essay about a singular couple, Paco and Manolo, two Catalan photographers from the outskirts of Barcelona, who have been together for thirty years. Both have managed to work as a single photographer and have captured their imagery in the Kink magazine, a very personal photography fanzine with an essentially Mediterranean homoerotic aesthetic. Paco and Manolo’s style can be summarized in simplicity, the use of natural light, abandoned places and simple rooms, managing to record the Sex Appeal of the working class, an unprejudiced mix of aesthetics that goes from Caravaggio to Pasolini. The method of these artists consists in being discreet witnesses of the morbidity and intimacy of those men who contact them (through Social Networks) with the desire to be portrayed naked of all prejudice. The clothes fall, the bodies are freed and the souls end up being captured by the lens of this intensely cultured, cinematic and urban couple.
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张兆辉和吴镇宇的出色表演为这部电影增色不少,他们的演技让人叹为观止。
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不是我的原创,机核开开和八号说的,觉得是这么回事,记下来。关于老金:他到底爱不爱娜娜?他对娜娜的爱里有一种自我为中心的自私,都是从他自身出发,比如他的面子,他的自我感动,甚至他的爱是责任大于情感的,他是“必须疼”。但是,老金是怎么长大的?可能老金的爸爸,老金的爸爸的爸爸,就是这么一代代过来的,这是一个父权封建大家长的爱的范式,从他们自身的认知水平出发,他们的感情是很真诚的。他没法理解“真正的为对方考虑”和“从自己出发”的区别,我们有这个抽象能力,去分辨是因为我们有大量的
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徐曼芳回到乡村回忆的故事,充满了对生命和母亲的深刻洞察,引人深思。
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我对诺兰整体还是持批判态度,他的大部分电影,高概念核心设置与复杂非线性叙事的强势主导下,高密度信息以单一扁平恒定的方式排挤了人、情感、时间绵延、感知存活的可能性。我同大多数批判诺兰电影的观点一致,都认为诺兰的作品缺乏真正的电影意识(和时间意识),即便在这部又是以打乱时间序列营造断裂破碎观感体验的《奥本海默》中,绝大部分画面(以及画面中的人物、环境共同组成的有机体)也只承载了极为单薄的表意功能(剧情建构总是借角色之口完成,可怜的诺兰电影的演员/角色们,他们连工具人都算不上,沦