freeOK概要：The Berliner Schedule of the first movie; ("La Nouvelle Vague Allemande" Cahiers Du Cinema) has gained international recognition; "Uncertain considerations" -2004 Cannes Film Festival. After the sparse white to black opening, we saw the back of Sophie's head. She was in the car, speaking clumsy French, and the woman driving got out of the car and brought her a map of Marseille. We soon learned that they were exchanging apartments, and another woman, her name, we will learn later, is Zelda, who will be going to Berlin, and Sophie will be staying in Marseille for a few weeks. Zelda said: Guten Tag, Auf Wiedersehen, Main Freund, der Baum, ist tot - The latter phrase is a German song by a young German singer who died young. Zelda disappeared, Sophie stayed behind. Zelda really disappeared because when Sophie returned to Berlin, she could no longer find her trace. Marseille's apartment is empty, although unoccupied, it will be a gift inexplicably given in a movie that ends with something - almost a form of life. The first third of Sophie in the film is in Marseille. She walked around taking photos. She looked at the photo and moved aimlessly. The camera was with her, sometimes very far away, sometimes very close to her. Sophie is a stranger in a strange world, and sometimes she seems to be isolated from her surroundings. We heard the sound and saw her face, but the background was very blurry. She doesn't seem unhappy, she doesn't seem happy. She doesn't talk much, and when asked, she always thinks for a long time. Finally, she will be asked what she photographed. She will think for half a minute (or she may not think, just refuse to answer herself and the questioning police), and then she says: Street. We don't know much about her, and during the few minutes of walking with her in Marseille, we don't know much about her either. She met a young man in the garage who lent her the car. She drove around, but we couldn't see it. There are many things we haven't seen - although it may take some time to realize how much. She met this young man in the bar, they were drinking, and a friend came and inexplicably insulted Sophie. Sophie and Pierre, this young man, were walking on a street illuminated by brown and golden lights, sleeping together, which we couldn't see (and really, we didn't know). The next night they danced. After a very sharp wound, Sophie returned to Berlin and a young woman approached her. She returned a hat that she had left at a McDonald's restaurant before going to Marseille. She has more left, or more precisely, she has already escaped. (At least this can be inferred, but not necessarily.) Ivan, a photographer she might have fallen in love with. There are also actors Hannah, Ivan's girlfriend, and their son Anton. We have learned more about Ivan and more about Hannah. We saw Ivan taking photos of the female workers in the factory without any explanation. We're just watching. We look at women from the side, then we look at Ivan taking photos, and then we look at women from Ivan's perspective. They speak, but not much. We just hear, see, and watch. We have seen a lot - although it may take some time to realize how much. What we have left behind are these images. They still cannot explain, nor can they explain what we see"a; Marseille; There is a confusing structure that switches from elliptical cutting (which is really shocking) to continuous gaze (which is initially frustrating, but after all, amazing). We watched at least ten minutes of rehearsal. Hannah played a small role in a play in Sternberg. Rehearsed the same scene three times. We saw this man talking to that woman in a domineering Sternberg way, and we saw Hannah enter the stage. Then the camera moved to the left, and we saw the lady answering the man in a domineering Sternberg manner. We didn't see Hannah on stage this time. When leaving, she made a mistake by adding a word that didn't belong to her. Then we saw her cowering off stage. Hannah is very unhappy. She is very dissatisfied with David, enduring inexplicable pain. We don't know much about her. Sophie has been out of sight for a long time. We began to doubt whether this was really her story. Oh, yes, but Shanelek refuses to follow her and her story in a linear way. Ivan's photography and Hannah's rehearsal became very important, not so much as an explanation of their behavior, but rather an explanation of the part of Shanelek's decision to follow their life. Sophie then returned to Marseille, and after the boldest ellipsis, we saw her at the police station wearing a yellow dress. She sat and spoke, then remained silent for half a minute. Someone asked her what she was shooting. "Street," she said, as if a long time had passed. She cried. We saw her on the sidewalk, with the camera moving parallel to her. She walked through the street, the camera still on the sidewalk, and Sophie was leaving
網(wǎng)友收藏Women Make Flim柏林學(xué)派電影片單 Berliner Schule值得關(guān)注的女導(dǎo)演作品（2000-2009）第33屆法羅島電影節(jié)（2004）世紀(jì)初2000-2019雙年代百佳電影手冊Cahiers du Cinéma 4星
The Berliner Schedule of the first movie; ("La Nouvelle Vague Allemande" Cahiers Du Cinema) has gained international recognition; "Uncertain considerations" -2004 Cannes Film Festival. After the sparse white to black opening, we saw the back of Sophie's head. She was in the car, speaking clumsy French, and the woman driving got out of the car and brought her a map of Marseille. We soon learned that they were exchanging apartments, and another woman, her name, we will learn later, is Zelda, who will be going to Berlin, and Sophie will be staying in Marseille for a few weeks. Zelda said: Guten Tag, Auf Wiedersehen, Main Freund, der Baum, ist tot - The latter phrase is a German song by a young German singer who died young. Zelda disappeared, Sophie stayed behind. Zelda really disappeared because when Sophie returned to Berlin, she could no longer find her trace. Marseille's apartment is empty, although unoccupied, it will be a gift inexplicably given in a movie that ends with something - almost a form of life. The first third of Sophie in the film is in Marseille. She walked around taking photos. She looked at the photo and moved aimlessly. The camera was with her, sometimes very far away, sometimes very close to her. Sophie is a stranger in a strange world, and sometimes she seems to be isolated from her surroundings. We heard the sound and saw her face, but the background was very blurry. She doesn't seem unhappy, she doesn't seem happy. She doesn't talk much, and when asked, she always thinks for a long time. Finally, she will be asked what she photographed. She will think for half a minute (or she may not think, just refuse to answer herself and the questioning police), and then she says: Street. We don't know much about her, and during the few minutes of walking with her in Marseille, we don't know much about her either. She met a young man in the garage who lent her the car. She drove around, but we couldn't see it. There are many things we haven't seen - although it may take some time to realize how much. She met this young man in the bar, they were drinking, and a friend came and inexplicably insulted Sophie. Sophie and Pierre, this young man, were walking on a street illuminated by brown and golden lights, sleeping together, which we couldn't see (and really, we didn't know). The next night they danced. After a very sharp wound, Sophie returned to Berlin and a young woman approached her. She returned a hat that she had left at a McDonald's restaurant before going to Marseille. She has more left, or more precisely, she has already escaped. (At least this can be inferred, but not necessarily.) Ivan, a photographer she might have fallen in love with. There are also actors Hannah, Ivan's girlfriend, and their son Anton. We have learned more about Ivan and more about Hannah. We saw Ivan taking photos of the female workers in the factory without any explanation. We're just watching. We look at women from the side, then we look at Ivan taking photos, and then we look at women from Ivan's perspective. They speak, but not much. We just hear, see, and watch. We have seen a lot - although it may take some time to realize how much. What we have left behind are these images. They still cannot explain, nor can they explain what we see"a; Marseille; There is a confusing structure that switches from elliptical cutting (which is really shocking) to continuous gaze (which is initially frustrating, but after all, amazing). We watched at least ten minutes of rehearsal. Hannah played a small role in a play in Sternberg. Rehearsed the same scene three times. We saw this man talking to that woman in a domineering Sternberg way, and we saw Hannah enter the stage. Then the camera moved to the left, and we saw the lady answering the man in a domineering Sternberg manner. We didn't see Hannah on stage this time. When leaving, she made a mistake by adding a word that didn't belong to her. Then we saw her cowering off stage. Hannah is very unhappy. She is very dissatisfied with David, enduring inexplicable pain. We don't know much about her. Sophie has been out of sight for a long time. We began to doubt whether this was really her story. Oh, yes, but Shanelek refuses to follow her and her story in a linear way. Ivan's photography and Hannah's rehearsal became very important, not so much as an explanation of their behavior, but rather an explanation of the part of Shanelek's decision to follow their life. Sophie then returned to Marseille, and after the boldest ellipsis, we saw her at the police station wearing a yellow dress. She sat and spoke, then remained silent for half a minute. Someone asked her what she was shooting. "Street," she said, as if a long time had passed. She cried. We saw her on the sidewalk, with the camera moving parallel to her. She walked through the street, the camera still on the sidewalk, and Sophie was leaving展開
