多摩蘭坂5.2
类型： 国产电影 台湾省 2024-10-15
主演： 未知
导演： 未知
A whole film built around a single word: “Tamaran!” The first time we hear it is when Hinako’s father fulminates on the phone against a typhoon: “Tamaran!”,yy4080影视觉影院青苹果 “unbearable!”. The word appears for the second time in the title of a book that a bookseller gives to a student who wants to read about “hometowns”: Tamaran Hill. The adjective has become a proper noun,多摩蘭坂 both “really evocative and profound”, according to the bookseller. On the platform and then on the train that takes her back home, Hinako reads. The reading immediately starts to reflect her own life, sentences lead her back to her origins, to the past of her family, to her sorrows. Relating and representing this reflection through a bouncing game between sentences and shots – such is the challenge of the film, which is taken up through the most generous, bold and rigorous type of plastic and narrative inventiveness. Words are brought to life, the past is revived with a pencil in the whiteness that brings together image and page, and that turns one into the other. How do you go from a single word to a film? Through a book and its reading, then; but also, through the series of books in which Hinako tracks down the word “tamaran” and its polysemy. The Japanese novel Tamaran Hill inspired Tadasuke Kotani’s film. Its author, Seiji Kuroi, makes an appearance, as a writer who confides his guiding principle to the student: “characters are made of words. Words have their own vitality, warmth and power. Characters arise from the actions of such words.” Because Kotani has dared taking the writer to his word, the film is far from a mere literary adaptation – it is a madly ambitious and fully mastered attempt to translate literature into film. Because “translation is a form” (W. Benjamin), and Tamaran Hill’s director belongs to the rare species of the true inventors of form. His invention? An action film whose hero is a word. (C.N.)
无数次身临绝境，性命垂危，但每每想起女友的脸庞，萧逸都燃起了万分战气，在一次次险象环生中继往开来，破敌而出！详情
多摩蘭坂
剧情简介
多摩蘭坂
A whole film built around a single word: “Tamaran!” The first time we hear it is when Hinako’s father fulminates on the phone against a typhoon: “Tamaran!”,yy4080影视觉影院青苹果 “unbearable!”. The word appears for the second time in the title of a book that a bookseller gives to a student who wants to read about “hometowns”: Tamaran Hill. The adjective has become a proper noun,多摩蘭坂 both “really evocative and profound”, according to the bookseller. On the platform and then on the train that takes her back home, Hinako reads. The reading immediately starts to reflect her own life, sentences lead her back to her origins, to the past of her family, to her sorrows. Relating and representing this reflection through a bouncing game between sentences and shots – such is the challenge of the film, which is taken up through the most generous, bold and rigorous type of plastic and narrative inventiveness. Words are brought to life, the past is revived with a pencil in the whiteness that brings together image and page, and that turns one into the other. How do you go from a single word to a film? Through a book and its reading, then; but also, through the series of books in which Hinako tracks down the word “tamaran” and its polysemy. The Japanese novel Tamaran Hill inspired Tadasuke Kotani’s film. Its author, Seiji Kuroi, makes an appearance, as a writer who confides his guiding principle to the student: “characters are made of words. Words have their own vitality, warmth and power. Characters arise from the actions of such words.” Because Kotani has dared taking the writer to his word, the film is far from a mere literary adaptation – it is a madly ambitious and fully mastered attempt to translate literature into film. Because “translation is a form” (W. Benjamin), and Tamaran Hill’s director belongs to the rare species of the true inventors of form. His invention? An action film whose hero is a word. (C.N.)
乔安心头一动，摁住颜汐的手，“颜汐，你别冲动，我现在只需要带你一个，也挺好的。”村里没啥工作，陈楚呆了一阵想到中午了，要到夏跃进家吃饭，不能白吃了，便先去村里的小卖店买点熟食，给季家先送去，这也是礼仪。为今之计，将立夏找回来后，第一个解决的事情，便是全家的口粮。“您可以卸甲归田，为什么我就不可以？每个人都有权利做自己喜欢的事情，难道不是吗？”
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