帝国[电影解说]
导演：亚历山大·索科洛夫
时间：2023-03-03 04:03:04
简介： Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fle Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.详情
腾讯云播
剧情简介
《帝国[电影解说]》是上映于1987 年的电影解说 影视解说 影视作品， Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the 《帝国[电影解说]》是上映于1987 年的电影解说 影视解说 影视作品， Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.详情
猜你喜欢
- 已完结
青蛇缘起[电影解说]
柯颖,金蒲,张亚奇,书亚信,于鹏
- 已完结
三叉戟2[电影解说]
陈建斌,董勇,郝平,徐绍瑛,李之夏,胡可,巫刚,国永振,李君峰,陶红,赵子琪,王志飞,王骁,聂远,周野芒,周晓鸥,印小天,岳旸,王绘春,黑子,陆玲,曲高位,王森,闫佩伦,袁满,佟磊,要武,刘大锁,陈牧扬,陈莹莹,郭家豪
- 已完结
飞来横福[电影解说]
陈佩斯,陈强,丁嘉丽,袁立,常蓝天,解衍,马伦,李玉华
- 已完结
风尘车手[电影解说]
乔什·哈洛威,瑞秋·希尔森,凯斯·大卫,McKenzie,Scott,Sydney,Elisabeth,Reavis,Dorsey,大卫·卡拉维,乔纳森·迪克森,米凯拉·胡佛,加斯珀·基恩,罗曼·米蒂齐扬,布兰登·斯特西,Silver,Rae,Fox,Harold,Nieves,Fisch,杰克·托帕利安,埃索迪·盖格,Merritt,C.,Glover,Nick,Ricciardi,拉塞尔·吉布斯,Maria,Mabra,多纳尔·罗格,塔拉·霍尔特,妮可·齐安娜
- 已完结
红苹果乐园[电影解说]
盛超,馨子,张继,顾成栋,曲鑫,金磊,黄圣依,王伟华
- 已完结
孽欲杀人夜[电影解说]
威廉·彼德森,金·格雷斯特,琼·艾伦,布莱恩·考克斯,丹尼斯·法里纳,汤姆·诺南,史蒂芬·朗,David,Seaman,Benjamin,Hendrickson,Michael,Talbott,丹·巴特勒,Michele,Shay,Robin,Moseley,保罗·佩里,帕特丽夏·夏博诺,比尔·奎考斯基,亚历桑德拉·尼尔,诺曼·斯诺,弗兰基·费森,嘉丝莉·毕薇斯,琼安·坎普,克里斯·艾略特,金·施赖纳,约翰·波西,克里斯汀·霍尔比,比尔·斯米托洛维奇,迈克尔·D·罗伯茨,马绍尔·贝尔
- 已完结
无主孤魂[电影解说]
Suporntip,Chuangrangsri
- 已完结
初婚2018[电影解说]
朱锐,林继东,蔡蝶
- 已完结
尸杀泰拳[电影解说]
约翰尼·安丰,娜塔妮查·纳瓦塔纳瓦尼,普林·苏帕拉
- 已完结
血魔传奇1964[电影解说]
芭芭拉·斯蒂尔,乔治·里维埃,Margarete,Robsahm