片名: 《飘零双燕》完整版全集免费观看
类型: 剧情片
导演: 伊莎贝尔·于佩尔,布鲁·欧吉尔,阿丽尔·朵巴丝勒,安尼卡·库尔,罗班松·斯泰弗南,让-弗朗索瓦·斯泰弗南,罗基里奥·萨莫拉,曼努埃尔・布兰科,Tim,Fischer
演员: 伊莎贝尔·于佩尔,布鲁·欧吉尔,阿丽尔·朵巴丝勒,安尼卡·库尔,罗班松·斯泰弗南,让-弗朗索瓦·斯泰弗南,罗基里奥·萨莫拉,曼努埃尔・布兰科,Tim,Fischer
上映时间: 2002
发行地区: 法国
百度网友影评:我很喜欢看雷涛剧院提供的《飘零双燕》这部作品,从这部作品开始预告片开始,就早早的开始关注,对于沃纳·施罗德 的偏爱源于对生活的热爱,很多人看《飘零双燕》是因为对这部作品本身的喜欢,而我则是因为导演本人而对这部影评充满了期待！戏里戏外,人世人生,好马配好鞍,好戏需要好演员,《飘零双燕》这部作品伊莎贝尔·于佩尔,布鲁·欧吉尔,阿丽尔·朵巴丝勒,安尼卡·库尔,罗班松·斯泰弗南,让-弗朗索瓦·斯泰弗南,罗基里奥·萨莫拉,曼努埃尔・布兰科,Tim,Fischer·作为主要演员,使整部作品有了完美的效果,而其他等人则满足了不同口味观影人群的欲望幻想,看电影电视剧亦如看自己,看人生,作品是一面镜子,其中的表现繁华与真理的新芽都停格在短短的几十分钟里,只有像作品中的演员一样,结合生活才能找到作品所不能给你的人生答案!这部作品不论是手法还是气氛上,都是以人物鲜明的演技来架构全片,不忘初心回归本心!起初我以为《飘零双燕》剧情片更倾向于对人物肖像的刻画,以刻画时代的个体为主体,而《飘零双燕》开始了剧情人物和记录的手法,到今天过度到剧情片,其实算是一种较为水到渠成,比较自然的流程!作品《飘零双燕》所谓表现和写实之间,也包含叙事,我都有去把握一种“间离”,不是简单的沉浸在个体里然后去共情,而是我希望能通过“间离”,时不时的让观众可能会“跳”出来,去真正意识到一种观看的存在!例如我拍剧情片,并不是简单的去捕捉然后表现一个对象,我认为好的剧情片是能够发酵出镜头前后的一种人的关系,镜像的关系!由于这部片本身也不是很写实的表达,所以整个来说无论从声和画还是故事本身,都应该做到一种有机的契合! 很喜欢作品《飘零双燕》一镜到底的运动长镜头,这是我最喜欢的一段,也是我认为本片的最大亮点!我真的很喜欢一镜到底所带来的沉浸感,仿佛跟着主角的步伐一起经历发生的事,这是只有电影这种视听艺术所带来的独特体验! 整部作品《飘零双燕》剧情虽简单,但却并没有因为时间的限制而显得仓促不完整,虽然故事中仍有细节未解释,但整体下来观感不错!整部电影的亮点在于浑身粘液、触手,酷似菊石与象拔蚌合体的怪兽,与秀色可餐,长相甜美的教授和少女!感谢雷涛剧院(http://www.leitaofamen.net)得以在繁忙之中邂逅这部令我垂涎已久的口碑佳作!
《飘零双燕》剧情简介:Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion. Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
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