麦吉的农场6.3
类型： 科幻电影 安徽省 2024-05-16
主演： 未知
导演： 未知
A portrait of an art institution as a cinematic landscape: in a succession of static shots,麦吉的农场 James Benning explores the buildings and terrain of the California Institute of the Arts,初中女生夏天穿短袖侧面看见 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.
刚毅立体的脸部轮廓，大而深邃的眼睛，高而坚挺的鼻梁，以及红润饱满的嘴唇。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,麦吉的农场 James Benning explores the buildings and terrain of the California Institute of the Arts,初中女生夏天穿短袖侧面看见 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.
裹着浴袍从浴室中走出来的时候，白十七的身上还带着濛濛的雾气。“我们家就这两只老鸡，家里就靠他们下蛋维持，你哥偷了我家的鸡，这事儿不解决，我和你们没完！”陆北安冷笑一声“你不必过于亲密，按照礼仪，我是你姐夫。”“谢谢，”低低的一句谢谢后，顾子安就迈着他的大长腿从旁边空隙离开。
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