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,吧啦啦小魔仙第全集 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.郁雨晨嘟起了小嘴,有些不乐意了,道“喂,你这样看不起人啊。我问你话呢,难道我真的一点也吸引不了你吗?”“难得来这么好的地方吃饭嘛。”郭璞揽住了韩笑的肩膀,眨了眨眼睛笑道。“今天张知行那小子请客,不好好宰他一顿怎么对得起自己?”慕容席脸色微沉“叶小姐,我自己的孩子我不会认错,我当你年纪小,不和你计较,也希望不会再有下一次。”薛野将匕首递给了TwoP1,TwoP1盘腿而坐,开始认真观察匕首,嘟哝道格林家族的产品,就是酷。
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