决斗

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate. 详情

• 正片

  笼战

  内详

• 正片

  矮人王中土之剑

  内详

• 正片

  往蚀

  拉吉尼坎塔,阿米尔·汗,普嘉·海婅,基肖尔·库马尔·G·,施卢蒂·哈森,纳嘎朱纳·阿克肯尼,苏宾·沙希尔,萨嘉拉吉,Upendra,Reba,Monica,John,Kanna,Ravi,Monisha,Blessy,Junior,MGR,Master,Mahendran,S.sadahasivam

• 正片

  Bad Man

  西恩·威廉·斯科特,约翰尼·西蒙斯,罗伯·里格尔,钱斯·佩尔多莫,安德·海兰德,洛维·波

• 第1集

  不速之客

  黎明,耿乐,韩彩英,祝延平,陈海亮,于娜,童冰玉,林羽

• 正片

  反悔枪手

  彼得·威勒,特里斯汀·梅斯,杰克·凯西,小杉健,斯蒂夫·巴什托尼

• 正片

  猫薄荷

  Jake,Busey,Charlotte,Kirk,Brooke,Bundy

• 正片

  毒女郎

  佐伊·马奇尔,费德莉·卡马拉,伊娃·霍尔特,文森特·里根,让·路易斯·布尔戈斯,朱迪思·罗德里格斯·佩雷斯,埃里克·库雷特,MJ·罗德里格斯

• 正片

  统治

  Neyla,Cantu,Jenny,Frame,Nancy,L.,Gray,Dylan,Winters,Xavier,Alvarado

• 正片

  黄飞鸿之黑衙门

  王浩男,郭亭亭,曹旭,杜康,李圣雄,张萍,黄一山

• 正片

  特殊安保

  内详

• 正片

  生死狙击

  马克·沃尔伯格,凯特·玛拉,迈克尔·佩纳,丹尼·格洛弗,伊莱亚斯·科泰斯,罗娜·迈特拉,亚历山大·埃默特,苏珊·巴内特,弗兰克·特雷诺,乔纳森·埃斯比奥,Patrick,Michael,Strange,Sharon,Carpenter-Rose,Liam,Ferguson,Torell,Vinson,路易斯·费雷拉,扎克·圣蒂亚戈,Vale,Anoai,Sean,Traynor,Adrian,Hughes,尼德·巴蒂,Patrick,Ferguson,贾斯汀·路易斯,泰特·多诺万,拉德·舍博德兹加,莱恩·