女神老婆賴(lài)上我是由執(zhí)導(dǎo),主演的一部短劇。主要講述了:
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洗潔精:139.207.237.156片如其名,老爺子像一位私人向?qū)疃扔斡[他從業(yè)以前的美國(guó)電影圖景。 -
大雨時(shí)行:171.15.44.176This is for me. His name, my name, Ukulele, plaid shirt. Yeah, this is for me, babe. -
落葉注定飄零:222.75.100.120大魚(yú)吃小魚(yú),小魚(yú)吃蝦米。鄙視鏈,食物鏈,層級(jí),向死而生…短短78分鐘真的講了好多東西。一邊是大海是自由(而這片自由中依然存在風(fēng)險(xiǎn)和死亡),一邊是砧板是死亡,刀俎之下的肉。向來(lái)不缺先驅(qū),先驅(qū)也不一定成功,但先驅(qū)總會(huì)留下些什么,會(huì)成功的。中間的手繪大場(chǎng)面畫(huà)特別好,大魚(yú)隕落,百物凋零。 -
格格只是代號(hào):210.30.133.55金世佳不會(huì)真以為憑這種撒酒瘋演技就能讓人夸一句演技派吧? -
呵呵呵呵噠:61.235.9.240The question of whether or not the film or its characters are actually good Marxists is not only not interesting, but also misguided, since we’re bound to get nowhere with such relationships of subordination: it is the coordination that we must look at instead. Godard doesn’t film “Marxists” or things whose meaning would be Marxism. He makes cinema with Marxism [...] The strength of the film is that it brings together cinema and Marxism by treating those two formulas as two different conceptions of art in general, and hence also of Marxist cinema. -- Jacques Rancière