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,杨思敏金梅瓶1一5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.权承瑾的脸黑得几乎能拧下水来,他不再理会顾子谦的话,直接挂断了电话。终于,电视固定在了政府台,被樊劲松突然这么一吼,林凡吓了一跳,刚想骂他几句,张开的嘴巴却再也合不上,帅气的脸庞上也浮现出一抹震惊。四人将面板转了过来,众人才明白这板子的作用,板子上挂满了红白蓝绿的气球,上面拉着条横幅,书写“庆祝‘火线’开服。”今天则是星辰塔免费开放的日子,不断的有人在那进进出出,莫离看到这一幕,心中也不由自主的激动起来。
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