阿拉亚5.0
类型： 爱情电影 宁夏回族自治区 2024-10-30
主演： José Ignacio Cabrujas Lau
导演： 未知
《阿拉亚》是委内瑞拉传奇女导演玛戈贝纳塞拉芙唯一一部纪录长片，阿拉亚它在拉美影史上占有相当重要的位置，我在英语课上强干英语课代表污文是委内瑞拉民主后第一部获得国际声誉的电影，当年在嘎纳它与阿伦雷奈的《广岛之恋》共同分享了国际评论家奖，也都获金棕榈提名却最终未果，尽管名气不如《广岛之恋》和《黑人奥菲尔》那么大，但在专业人士眼中此片一直都是研究拉美女性电影所必修的经典，影片出色的摄影时常被人们所赞美，是与卡拉托佐夫的《我是古巴》齐名的诗意电影杰作，法国著名导演让雷诺阿在看过影片后称赞《阿拉亚》是他所见过最完美的纪录片之一。贝纳塞拉芙就像是委内瑞拉影坛的特吕弗和亨利朗格鲁瓦，她不仅是第一位毕业于巴黎电影学院（IDHEC）的拉美导演，而且在1966年创办了委内瑞拉电影资料馆，虽然由于资金短缺问题，她个人的导演生涯并不顺利，作品也很少，但却为新委内瑞拉电影的发展成立基金会，并曾获得世界各国的无数荣誉和勋章。 转自AUESS的博客资料（http://blog.sina.com.cn/s/blog_497f6a250100cxm0.html） Shown at Cannes in 1959, the year after Venezuela's last dictator Marcos Perez-Jimenez was overthrown, the documentary inadvertently highlights the kind of exploitation of the poor that can lead to rebellion. While the dictator escaped to Miami with $13 million, salt workers were piling up mounds of salt on the flat sands, making barely enough money to keep them in arepas and black beans. Between the hot, tropical climate and the sores on their feet, the job these workers do every day is excruciating. Yet the lives of the fishermen and salt workers in this documentary are shown in the context of planned, upscale development, something of a disservice to the larger picture. With not much making a great impression thus far at the Berlinale, Margot Benacerraf's lovely documentary Araya comes as a breath of fresh air from 1959. Reminiscent of Agnes Varda's debut film La Pointe-courte (1954) in its artful but somewhat ambivilant attitude towards filming a local community and their work clearly admired by the filmmakers, Benacerraf's film focuses on the inhabitants of Araya, a desolate area in Venezuela subsiding through a long history on the wealth of its great salt marshes. Araya was originally compared to Flaherty's Man of Aran, Visconti's La Terra Trema (1947) and Rossellini's India (1957). Margot Benacerraf has described the film as "a cinematic narration based on script writing rather than a spontaneous action, a feature documentary, the opposite of Italian neorealism".
“这是什么味呀！”推门而入的莉莉夸张地扇着风，然后看向温席，“这不是我们的温美人么？吃的什么呀，菜包子？！”详情
阿拉亚
剧情简介
阿拉亚
《阿拉亚》是委内瑞拉传奇女导演玛戈贝纳塞拉芙唯一一部纪录长片，阿拉亚它在拉美影史上占有相当重要的位置，我在英语课上强干英语课代表污文是委内瑞拉民主后第一部获得国际声誉的电影，当年在嘎纳它与阿伦雷奈的《广岛之恋》共同分享了国际评论家奖，也都获金棕榈提名却最终未果，尽管名气不如《广岛之恋》和《黑人奥菲尔》那么大，但在专业人士眼中此片一直都是研究拉美女性电影所必修的经典，影片出色的摄影时常被人们所赞美，是与卡拉托佐夫的《我是古巴》齐名的诗意电影杰作，法国著名导演让雷诺阿在看过影片后称赞《阿拉亚》是他所见过最完美的纪录片之一。贝纳塞拉芙就像是委内瑞拉影坛的特吕弗和亨利朗格鲁瓦，她不仅是第一位毕业于巴黎电影学院（IDHEC）的拉美导演，而且在1966年创办了委内瑞拉电影资料馆，虽然由于资金短缺问题，她个人的导演生涯并不顺利，作品也很少，但却为新委内瑞拉电影的发展成立基金会，并曾获得世界各国的无数荣誉和勋章。 转自AUESS的博客资料（http://blog.sina.com.cn/s/blog_497f6a250100cxm0.html） Shown at Cannes in 1959, the year after Venezuela's last dictator Marcos Perez-Jimenez was overthrown, the documentary inadvertently highlights the kind of exploitation of the poor that can lead to rebellion. While the dictator escaped to Miami with $13 million, salt workers were piling up mounds of salt on the flat sands, making barely enough money to keep them in arepas and black beans. Between the hot, tropical climate and the sores on their feet, the job these workers do every day is excruciating. Yet the lives of the fishermen and salt workers in this documentary are shown in the context of planned, upscale development, something of a disservice to the larger picture. With not much making a great impression thus far at the Berlinale, Margot Benacerraf's lovely documentary Araya comes as a breath of fresh air from 1959. Reminiscent of Agnes Varda's debut film La Pointe-courte (1954) in its artful but somewhat ambivilant attitude towards filming a local community and their work clearly admired by the filmmakers, Benacerraf's film focuses on the inhabitants of Araya, a desolate area in Venezuela subsiding through a long history on the wealth of its great salt marshes. Araya was originally compared to Flaherty's Man of Aran, Visconti's La Terra Trema (1947) and Rossellini's India (1957). Margot Benacerraf has described the film as "a cinematic narration based on script writing rather than a spontaneous action, a feature documentary, the opposite of Italian neorealism".
拿起笔的时候，沐雨晴顿了顿，有些犹豫的看向跟前的几人，“真的要写？”她自觉心虚，把包抱在前面，猫着腰往里走。无意瞄了一下主屋，居然看见点了灯。下人们已经将碗筷、饭食都放好了，沈庄热情地招呼大家坐下，一点也没有受到刚才事情的影响。“磨墨，”夏侯衔吩咐一声，小厮连忙上前，磨好墨掭饱笔后，恭恭敬敬的将笔递给夏侯衔。
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