https://youtu.be/V6Ei6gbrTaE?si=jL45eOf1GPWVr5ss
Masterpiece，(唔知算唔算)反類型戰爭片
同主角群永遠保持距離，鏡頭前面冇出現過任何猶太人，但你知道佢地嘅存在——牆外嘅不和諧雜音從開場就貫穿全片
呢種對主角群持續注視嘅感覺，有啲場口係好似睇緊恐怖片咁
細仔一臉天真，望出窗口一句：我係你下次就唔會咁做(類似係咁)，嗰種習以為常好撚creepy
最後一下回望係神來之筆
今年完全係sandra huller年
[劇透討論] 點睇Jonathan Glazer新戲《特權樂園》(The Zone of Interest)
一個字頭的誕生
102 回覆
33 Like
3 Dislike
https://youtu.be/V6Ei6gbrTaE?si=jL45eOf1GPWVr5ss
Masterpiece，(唔知算唔算)反類型戰爭片
同主角群永遠保持距離，鏡頭前面冇出現過任何猶太人，但你知道佢地嘅存在——牆外嘅不和諧雜音從開場就貫穿全片
呢種對主角群持續注視嘅感覺，有啲場口係好似睇緊恐怖片咁
細仔一臉天真，望出窗口一句：我係你下次就唔會咁做(類似係咁)，嗰種習以為常好撚creepy
最後一下回望係神來之筆
今年完全係sandra huller年
過兩日睇留個名先
不如講多少少
公道講，美斯係幾好戲
係
浪衫都唔掂 水源同身體都有問題
女主角係咪意識唔到個種邪惡
浪衫都唔掂 水源同身體都有問題
女主角係咪意識唔到個種邪惡
個女主本身就係冷血
另外個大仔掟個細佬入去溫室係唔係隱喻集中營
另外個大仔掟個細佬入去溫室係唔係隱喻集中營話說今晚睇單身動物園，一見到主角隻狗就諗係咪同一隻
女主老母一係頂唔順，一係良心發現
間屋入面嘅人唔係冇意識隔離發生緊咩事，係扮唔知多
同埋我覺得女主有少少暴力因子
一直對主角群保持距離嘅觀察，唯獨講到老母係套戲少數拉近距離嘅時刻，亦都係少數情緒豐富嘅場口(望出窗外嘅硝煙)
間屋入面嘅人唔係冇意識隔離發生緊咩事，係扮唔知多
同埋我覺得女主有少少暴力因子
一直對主角群保持距離嘅觀察，唯獨講到老母係套戲少數拉近距離嘅時刻，亦都係少數情緒豐富嘅場口(望出窗外嘅硝煙)
啲細路住左咁耐被耳濡目染，喺正附近住見唔少場面
Eg 玩牙玩兵仔玩具、掟細佬入溫室，識得講「我係你下次就唔敢再做」，覺得啲細路敏感過成年人好多
Eg 玩牙玩兵仔玩具、掟細佬入溫室，識得講「我係你下次就唔敢再做」，覺得啲細路敏感過成年人好多
討論post唔駛加密啦
理解你諗法，有種擺喺博物館敘述歷史影像實驗嘅感覺
係咪覺得呢種冷靜同乾淨欠缺左註釋空間
理解你諗法，有種擺喺博物館敘述歷史影像實驗嘅感覺
係咪覺得呢種冷靜同乾淨欠缺左註釋空間
睇完有個感覺係 screencap 其中一幕一家人喺花園玩水，而後面燒緊煙嘅畫面已經表達到七成套戲想講嘅嘢
同埋呈現出嚟對納粹軍嘅描寫好似都同既定印象差唔多
我諗係得主角連骨灰會 dum 落河都唔知，仲有細路睇行刑好似睇電視咁呢兩個位叫做比較震撼
另外跨時空作嘔嗰段都幾鍾意
一開頭以為係前一幕驗身有咩暗病
點知原來係睇到後世對自己嘅記錄
同埋呈現出嚟對納粹軍嘅描寫好似都同既定印象差唔多
我諗係得主角連骨灰會 dum 落河都唔知，仲有細路睇行刑好似睇電視咁呢兩個位叫做比較震撼
另外跨時空作嘔嗰段都幾鍾意
一開頭以為係前一幕驗身有咩暗病
點知原來係睇到後世對自己嘅記錄
d 細路不知不覺學埋大人個套
平庸的邪惡
平庸的邪惡
Jonathan Glazer on his holocaust film The Zone of Interest: ‘This is not about the past, it’s about now’
https://amp.theguardian.com/film/2023/dec/10/jonathan-glazer-the-zone-of-interest-auschwitz-under-the-skin-interview
“To acknowledge the couple as human beings,” says Glazer, shaking his head, “was a big part of the awfulness of this entire journey of the film, but I kept thinking that, if we could do so, we would maybe see ourselves in them. For me, this is not a film about the past. It’s trying to be about now, and about us and our similarity to the perpetrators, not our similarity to the victims.”
“The more fragments of information we uncovered about Rudolf and Hedwig Höss in the Auschwitz archives, the more I realised that they were working-class people who were upwardly mobile. They aspired to become a bourgeois family in the way that many of us do today. That was what was so grotesque and striking about them – how familiar they were to us.”
https://amp.theguardian.com/film/2023/dec/10/jonathan-glazer-the-zone-of-interest-auschwitz-under-the-skin-interview
“To acknowledge the couple as human beings,” says Glazer, shaking his head, “was a big part of the awfulness of this entire journey of the film, but I kept thinking that, if we could do so, we would maybe see ourselves in them. For me, this is not a film about the past. It’s trying to be about now, and about us and our similarity to the perpetrators, not our similarity to the victims.”
“The more fragments of information we uncovered about Rudolf and Hedwig Höss in the Auschwitz archives, the more I realised that they were working-class people who were upwardly mobile. They aspired to become a bourgeois family in the way that many of us do today. That was what was so grotesque and striking about them – how familiar they were to us.”
Nothing new. These are old ideas
成套戲都係講緊住集中營附近嘅日常有啲平淡
不過呢個可能正正就係呢個角度應有嘅感覺
不過呢個可能正正就係呢個角度應有嘅感覺
其實要自己justify 到大屠殺好易，只係一間大屋已經可以令你接受到literally live with 呢樣野
麻麻呢種形式主義嘅電影（我道行唔夠
但鏡頭係有d意思
大量使用定位 中景 監視器般視角 熱成像等等
都有留意到細節位
比如集中營嘅衣服 骨灰種花etc
但鏡頭係有d意思
大量使用定位 中景 監視器般視角 熱成像等等
都有留意到細節位
比如集中營嘅衣服 骨灰種花etc