大洪水2024

《大洪水2024》在叙事上选择了多线交叉的碎片化结构，导演吉安卢卡·乔迪刻意回避了传统灾难片对宏大场面的依赖，转而用角色在不同空间下的生存片段拼贴出洪灾的全貌。吉约姆·卡内演的父亲不是救世主，他连自家地下室都堵不住；梅拉尼·罗兰塑造的母亲则用撕心裂肺的沉默，取代了套路化的尖叫。别当爽片看，它更像个现实的寓言。摄影机始终紧贴人物，以近乎纪录片式的摇晃镜头放大个体的无力感，这种克制的处理让恐惧从环境的压迫转向内心的崩坏。吉约姆·卡内和梅拉尼·罗兰演一对在洪水中失散的夫妻，有一段他俩隔着废墟喊话的戏，嗓子里都带着沙子声，听得我心里一揪。你要是喜欢那种不煽情、专注讲人怎么在极端环境里做选择的灾难片，或者对法国现实主义叙事感兴趣的，绝对值得一看。

When talking about Louis XVI and his wife Marie Antoinette, what immediately comes to mind are lace, tall wigs, flamboyant clothes and colours, Versailles, or… the guillotine. Here, between these two extremes, exists a middle ground, a period of time seldom explored: the few months when the last king and queen of France were imprisoned, with their two young children, in a black...

相关搜索：