堤是1960左右的法國左岸派作品。 堤的一大特征是除了2秒鐘的眨眼是動態(tài)的影響，其余都是靜止的圖像。
「故事」
通過vo敘事將故事不緊不慢的表現(xiàn)了出來。堤是主人公生命里一個關(guān)鍵的時間點(diǎn)，但是退一步講這個電影這是探討了個先有雞蛋還是先有雞的哲學(xué)問題，進(jìn)而拓展到人類對于自身的一個反思：我們應(yīng)該止步于過去，還專注于現(xiàn)在，還是展望未來，又或是更深的對于生命的意義探討。
但是更多這部影片讓我思考的是：時間本身和事實之間的聯(lián)系。我們是如何判斷一件事情的真假？當(dāng)時間發(fā)生斷裂

From a philosophical point of view, La Jetee is an existentialist tale of doomed existence, inevitability, and predetermined death. And what better way to express this idea than by using lifeless photographs to tell the story of a life that is only perceived as such? If the main character is trapped in a time loop and sees his death as a child, what reasons does he have to believe he has actually existed?
Lasting 29 minutes, shot in black and white and consisting almost entirely of still photographs – imaginatively blended with dissolves, wipes and fades – this is the bare bones of science fiction. It highlights why we are attracted to SF in the first place: not for bug-eyed aliens or galaxy-hopping spaceships, but for the way in which the form can twist our most cherished versions of reality inside out.

堤：時空冷面——猴子，地穴編織者和竹蜻蜓
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