麦吉的农场5.2
类型： 最近更新 湖北省 2024-10-16
主演： 未知
导演： 未知
A portrait of an art institution as a cinematic landscape: in a succession of static shots,红桃视频在线观看2024 James Benning explores the buildings and terrain of the California Institute of the Arts,麦吉的农场 where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.
这里是她长大的地方，但看到沈母幽怨的眼神，她觉得自己就像个客人。详情
麦吉的农场
剧情简介
麦吉的农场
A portrait of an art institution as a cinematic landscape: in a succession of static shots,红桃视频在线观看2024 James Benning explores the buildings and terrain of the California Institute of the Arts,麦吉的农场 where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.
她吓得不轻，又不知道该不该出声把那女人叫回来，赶紧下山去，就见到树丛动了动，阿青差点尖叫出声，就见杜盼儿扛着一头羊钻了出来。“你所说的男子是不是疏着背头的美国佬，他和你说的是不是中文？”郑天坐在警车上，眼神是一片迷离。他到现在也不相信自己最爱的女人是警察。也不要相信。“够了，琳娜。”林楠轻喝，“你怎么说我都可以，犯不着对一个三岁的孩子说这么恶毒的话。”
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