牛头怪 Acclaimed Mexican-Canadian auteur Nicols Pereda returns to the Festival with Minotaur,朋友把我玩成小喷泉了 a pendant to his 2009 feature Juntos. Shot in the Mexico City apartment of Pereda’s signature actor Gabino Rodrguez,牛头怪 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.“把下药那人处理干净,还有,找到这屋子的主人,带回厉家。”车很快就开回了唐茶的出租屋,唐茶睁开眼看了看外面,没见到那个要钱的男人,这才稍微放了点心。医生急匆匆来到走廊里徐嘉铭的面前,拿着检查结果跟他说“徐总,里面的女人怀孕了,如果现在给她和徐小姐做肝脏、肾脏移植手术的话,要先给她拿掉肚里的胎儿!”谢洛川咽了咽口水,一旁一只小手已经伸了过来,抓起来就剥了板栗的外壳开吃。
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