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《过往》以剧本为中心来构建影片的方式使它缺少了自由随性的电影感,而更像是一出生硬编排的舞台剧,这让人颇为沮丧。阿斯哈·法哈蒂的《过往》开始于一个图解式的“隐喻”镜头:一对夫妇正在透过机场中的一张厚玻璃进行沟通。他们听不到对方的声音,虽然通过手势和口型他们能理解对方的只言片语,但是隔在他们之间的障碍物让他们无法进行完整的交流。很显然,法哈蒂通过新片《过往》延续了他在《一次别离》中赖以成功的许多手法,而电影的题材也与那部前作一脉相承,讲述的都是在一个相对封闭的环境中,发生的一系列激烈家庭冲突。
The “past” scenario-centered approach to building a movie that lacks a sense of freedom and casualness is more like a hard-hitting stage show, which is frustrating. Asha Fahati’s “The Past” begins with a graphic “metaphorical” lens: a couple is communicating through a thick glass in the airport. They do not hear each other’s voices, though they can understand each other’s words and phrases by gestures and lip-tricks, but obstacles between them make them unable to communicate completely. Obviously, Farhadi continues many of his ways of success in “One Time Farewell” through his new film “The Past,” and the theme of the movie is in line with that predecessor. The story is all about a relatively closed environment, A series of intense family conflicts have taken place.