牛头怪 Acclaimed Mexican-Canadian auteur Nicols Pereda returns to the Festival with Minotaur,精美日产mv二线三线 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.空旷的游乐园,只剩下了冬日刺骨的寒风与无人问津的冷冰冰的设施陪伴他,眼中的泪珠不断打转,他明白自己一生将充满了血腥。林语暗暗深吸了一口气,抬眸审视赵素素一身着装,决定转移话题“那我们待会儿去逛街吧,看看刚上的新款?”看到这张脸,她就能想起前世他的冷血无情,那一遍遍的利用,以及最后的沉塘,前世她傻了三年,可这一世她不想再傻了,不想被他当成棋子利用来利用去。多么愚蠢又可笑的决定,他不仅没有同意,还甘愿陪她一起去死,于是,她越来越讨厌厉景羡。
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