牛头怪 Acclaimed Mexican-Canadian auteur Nicols Pereda returns to the Festival with Minotaur,牛头怪 a pendant to his 2009 feature Juntos. Shot in the Mexico City apartment of Pereda’s signature actor Gabino Rodrguez,播播开心 Minotaur is an incandescent chamber piece that observes three thirtysomethings (Rodrguez, Luisa Pardo and Francisco Barreiro) as they sleep, dream, read, and receive visitors (including the housekeeper who takes care of them) in their communal space. A lovely and lethargic spell is cast as an ambiguous, Marienbad-like love triangle emerges among the trio, conveyed through literature (books function as telepathic transmitters and definers of relationships), choreography, and the acute physical presence of the three leads. Extending Pereda’s recurring interests in class, social structure and family relations in Mexican society in its wraithlike fantasy of a leisure class that is quite literally sustained in its narcoleptic existence by the ministrations of the domestic help, Minotaur evokes the films of Tsai Ming-liang in its distended naturalism, ritualistic solitude, and creation of a cloistered world suffused with longing. The surreal aura of Minotaur seeps beyond the confines of the trio’s apartment into a strange "night without distance" in Lois Patio’s hallucinatory portrait of border smuggling in the Gers Mountains between Portugal and Galicia. Casting real townsfolk, some of whom were smugglers in their youth, Patio places their stiffly Straubian presences within cross-processed, multilayered tableaux of rocks, river, and trees — an ever-indeterminate place that has imbibed and borne witness to innumerable, desperate acts of survival. Conjuring an instant in the memory of a landscape filled with ghosts, Night without distance extracts spellbinding fantasy from the real.随后他对赵长卿挑衅道小子,看你身手不错,跪下来给王董磕几个头认错,不然我让你半身不遂!少年轻轻地扬起嘴角,浅灰色的眼眸流泻出丝丝的悲伤。他微微俯下身,凝视着少女姣好的脸庞,声音里有着些许的苦涩慕樱诗,你怎么可能会了解我呢?我们相差的那么远。这……这是第三个……啊!食尸鬼被一脚踹飞,惨叫声传遍了村子。见自家女儿受委屈,秦兰立刻上前,语气愠怒;“绾绾,你妹只是气你当年将父亲气病,现如今你父亲去了,她太过伤心,不是刻意怨恨你,你何必对她大打出手。”
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