牛头怪 Acclaimed Mexican-Canadian auteur Nicols Pereda returns to the Festival with Minotaur,绘色千佳作品 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.小惠她们一脸坏笑,“又是哪个系的系草约你啦!可忙不坏你!”我低头脸红着,一瞬间觉得很是害羞。根据叶峰了解,与龙胆亮银枪匹配的还有一本枪法秘籍也在南宫家。姜意南刚想解释,对方又说“我都躲到国外了,你还能利用奶奶把我逼回来,现在穷追猛打的戏码不管用,开始打感情牌了,是不是只有我死了你才肯放过我?”她们以最快的速度检查了一下自己的仪容,确定自己从头到脚都很美。
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