-
清空 播放记录
剧情简介 《那里》是2006年的一部纪录片。由Chantal Akerman精心打造的，电影那里，又名Là-bas、Down There。The Belgian filmmaker spent a period of time, unspecified, a week or two, in an apartment in Tel Aviv that was lent to her. She lived there alone, in virtually complete isolation, indirectly filming and narrating the experience, sustained only by "provisions" found in the kitchen, especially rice and carrots, having had stomach trouble from an Israeli salad; didn't go to cafes or supermarkets, and rarely even went out, except for a couple of forays to the sea; the apartment was a block or so from the beach. La-bàs is a series of long stationary shots out the windows, often showing figures of old people on balconies on the roof or buildings opposite. A woman, immobile, is tended to by her husband. One man sits for long periods motionless. Ackerman in voice-over says she thinks he's watching his plants grow. "But I don't think plants grow any faster in Israel," she says. Is this any better than the proverbial watching paint dry? Two aspects, visual and auditory, save this thin, dry, austere documentary from being a sterile art piece and make it both thought-provoking and haunting, for those who have the patience to sit through it; many will not. To begin with, screens filter the light of the windows in a beautiful way: the shots are often handsome, not unworthy of something by Hou Hsiau-hsien or Tsai Ming-liang, if without their human figures moving about. Further, Ackerman's voice overs, spoken off-camera during the shots, though skimpy, provide fleetingly penetrating, brutally frank self-revelations and contexts that range from the personal to the universal. Her father was once going to emigrate to Israal just after WWII and was waiting in Marseille to go, but he was warned that the Palestine environment was too harsh. The family settled in Belgium instead. She speaks of an aunt who committed suicide. Is she herself depressed? She speaks of passivity and laziness. She may be agoraphobic. She clearly is going through an agoraphobic period. She may also be afraid of bombs. A parent calls and expresses concern about her going out to dangerous places; she promises she won't. She speaks of prisons, external and self-imposed: this is one of the latter kind. People call and invite her out. She says she can't because she's working. This devotion to the enterprise makes something positive and substantial, even noble, about this otherwise evanescent, uncertain project. This is an act of painfully heightened self-consciousness, a self-examination, a journal both Zen-like and intensive. She also speaks of reading; making extensive notes; having "complex" thoughts. A certain ambivalence toward her Jewishness is also involved. Finally, with minimal means, Ackerman has forged something unique. A telling image: a Chasidic family leaving the beach. The man, in his quaint outfit, symbolizes the oddity of the Israeli enterprise. Ackerman doesn't comment on the oppression of Palestinians or Israeli dependence on the US. Her seclusion in the middle of Israel's largest city may be comment enough. This is something she apparently can't be a part of. But in her alienation, she couldn't be more Jewish.
综合评分：
DVD电影网评分未知，暂时没有评分，请继续关注。
影迷点评：
apollo 13 说：I hear the song of the city, im in tel aviv 整天整天从窗户向外看，街道的声音，邻居的动作，光线的变化，从童年开始的习惯，一开始我被带入某种粘稠静止的日记里，或许比普鲁斯特的颜色更灰一些，里面隐藏着在一个不是家的城市里，躲在太阳下某间小屋，而世界从身边滑过的徒劳 happiness begins with thinking about yourself, and do whatever you have to make yourself feel better my sister is leaving for Paris tomorrow. it is bad. she knows how to live 时间和空间消失，眼睛和思绪是快进的云
白斬糖 说：阿克曼是那种，看完她的电影总是想好好给她一个拥抱，又使自己更有勇气拿起摄影机的作者。观感始终不畅快，不是因为镜头的凝滞，而是因为心绪彻底跟着她，被阻塞在窗帘以内。“那里”说的是窗户之外的天地，又指对于迁居布鲁塞尔的一家“过客”口中已然遥远的以色列，又或者在说记忆里隐约搏动的犹太血脉。从那个趴在灶台上炸毁自己的女孩，再到如今走不出房门的异乡人，窗外的世界从未真实。
ram26 说：上课看的 形式真的不漂亮 于是到中段有被无聊到近乎被冒犯 结尾好像抓住了一点点东西 属于能被讲得很花哨但观看不友好的作品 个人而言真是不太需要这种无聊抑郁时刻的自恋重现（但片子的文本比图像有意思很多） （于是也得知了自己上学期做的玩意别人看起来大概有多无聊（（（（
精彩剧照：
发表评论 
字幕下载
猜你喜欢 
纪录片周榜单
影迷点评