麦吉的农场5.8
类型： 科幻电影 台湾省 2024-04-08
主演： 未知
导演： 未知
A portrait of an art institution as a cinematic landscape: in a succession of static shots,东西小东西这才一根手指 James Benning explores the buildings and terrain of the California Institute of the Arts,麦吉的农场 where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.
麦西西的脑海中浮现出那一次的“接触”，其实就是通了一个电话，关于公司证券的事情，是她的本职工作。详情
麦吉的农场
剧情简介
麦吉的农场
A portrait of an art institution as a cinematic landscape: in a succession of static shots,东西小东西这才一根手指 James Benning explores the buildings and terrain of the California Institute of the Arts,麦吉的农场 where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.
车子发动，舒蕴紧攥衣角，忍痛问“那我做到了，你是不是就爱我了？宋恩静呆呆看着她，不一会眼睛又开始泛着水光“你要干嘛。”说话的时候，我注意到王禽脸色有些不对，就朝光叔使了个眼色。突然，老者不知道想到了什么，大惊失色，“怎么可能？这小娃娃莫非是，莫非是……”
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