James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?
凑活吧……电影时间完全不需要这么长,就为了个烂怂奖杯把命搭上,这情节有点扯。韩国电影还是脱离不了那种大声嚷嚷哭爹喊娘的夸张表演,用力过猛反而无法打动人。
很多泪点,动人,但是为啥韩国列车建设这么不合理?为了省钱吗多开一条路不就不死人了
不是林小姐的粉儿,看不下去这部电影,30分钟弃剧。
姐姐其实真实已经不存在了啊
温暖的电影永远可以温暖人心,但是可能无法温暖票房
横批,一切皆可泡菜。
emmm……虽然是因为允儿才看的,但是比起允儿,姐姐更让人喜欢啊……
一个天赋异禀的男孩有了人物欲望:建造简易车站,姐姐作为韩国典型女性形象代表选择照料家庭。姐姐陪伴着走完了一段路,这样的男孩前途也会一片光明吧。
为什么会在刚好看完Good Will Hunting之后紧接着看了这部...故事结构相似到突破天际。笼统可概括为出自贫民窟的天才少年,在缺乏亲情的环境下成长后如何摆脱童年阴影,“原谅自己”,放下过去走向未来,以实现自我及社会价值的故事。
一个富有又聪慧,善解人意又漂亮,还无敌主动的女生,怕是没人能拒绝。但可惜也只是个工具人角色。男女主角的情感戏分,甚至有些冲淡了电影的主基调,显得有些碍事。
评论区很多人说主角大龄违和,但1988余晖不也挺自然的嘛。
朴政民这两年的戏拍的不错呢…韩国人很会玩这种小东西,重笔涂亲情,浅笔再捎带一点甜甜的爱情,落俗套但是抓人心啊,挺不错的,观感温暖,不免动情
蛮有诚意的片子
看着真累,催泪也不是这样玩的么!
故事理得没有那么顺,但编剧思路很清奇,突破可突破的极限,也算是一种有惊喜的表达方式
沉重的真实事件改编成这样可能会比传统手法做成致郁片更容易接受。同时也并没有放弃直指问题。
一如既往的会运用演员的情绪,再套路化的故事也会有韩式滤镜。
这次又给中国翻拍提供了一个模板,完全可以整一个中国动车版亲情故事。
结果万万没想到啊没想到,意识到姐姐是幻想出来的以后,我TM哭没一卷手纸。
剧情虽然一般 节奏也不怎么好 但是不妨碍它感人啊 尤其还真的有这个地方
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