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,楼佳悦 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.宋如喜下巴抬了抬,点向坐在一旁的宋如昕,眨了眨眼睛,似乎在说,有大夫在,她们等着看戏就行,有人替她们收拾宋如歌。苏小锦打了个哈欠,用脚挠了挠小丫头的腰,喜儿登时“咯咯”直笑,苏小锦爬坐起来,一双灵动的大眼睛扑闪扑闪的望着她,说道“我问你话呢,究竟几天啊?”“那这学长是怎么死的?看你这描述,就是心脏病突发突然猝死的,跟鬼怪没半毛钱关系吧。”她现在的情况被夜鸣给抓回去,只有一个用途,那就是给夜鸣生孩子。
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