http://divxfest.com/antichrist-2009
主题曲是 Handel歌剧最流行的一段曲,好几部电影比如Farinelli,都用这首歌作sound track。 歌词:
Lascia ch'io pianga
mia cruda sorte,
E che sospiri la libertà!
E che sospiri,
e che sospiri la libertà!
Lascia ch'io pianga
mia cruda sorte,
E che sospiri la libertà!
Il duolo infranga
queste ritorte
de miei martiri
sol per pietà,
de miei martiri
sol per pietà.
Lascia ch'io pianga
mia cruda sorte,
E che sospiri la libertà!
E che sospiri,
e che sospiri la libertà!
Lascia ch'io pianga
mia cruda sorte,
E che sospiri la libertà!
Translation
Let me weep over
my cruel fate,
And that I long for freedom!
And that I long,
and that I long for freedom!
Let me weep over
my cruel fate,
And that I long for freedom!
The duel infringes
these images
of my sufferings
I pray for mercy.
for my sufferances.
I pray for mercy.
Let me weep over
my cruel fate,
And that I long for freedom!
And that I long,
and that I long for freedom!
Let me weep over
my cruel fate,
And that I long for freedom!
最近又有一部畅销书 Betrrayal of love and freedom 听起来也不错,是讲一个人如何bipolar,进精神病院然后自我解脱出来。
- posted on 05/16/2010
in the place of justice: a story of punishment and deliverance.
A death row inmate finds redemption as a prison journalist in this uplifting memoir. In 1961, after a bungled bank robbery, Rideau was convicted of murder at the age of 19 and received a death sentence that was later commuted to life in prison at Louisiana's Angola penitentiary, then the most violent in the nation. Against all expectations, his own included, he turned his up-to-then cursed life around, becoming editor of the prison newsmagazine, the Angolite, and an NPR correspondent who published nationally acclaimed articles on prison violence, rape and sexual slavery, and the cruelty of the electric chair. Rideau frames his 44-year fight to get his conviction reduced to manslaughter and win parole (he succeeded in 2005) as a black man's struggle against a racist criminal justice establishment. More inspiring is his self-reclamation through tough, committed journalism in an unpropitious setting where survival required canny alliance building against predatory inmates and callous authorities alike. To a society that treats convicts as a worthless underclass, Rideau's story is a compelling reminder that rehabilitation should be the focus of a penal system. 16 pages of photos; 2 maps. (May) - posted on 05/16/2010
谢谢玛雅介绍。不过我不清楚你喜欢哪类片。我不根据类型片捡片子。
LVT风格成熟后的片子都有一个共同点:挑战爱和人性的极限,局中人是男人女人,上帝在于无声处。比如:Breaking the Waves(破浪)中妻子对丈夫牺牲的极限,上帝的慈悲只显现于结尾处天裂开时的天庭钟声;Dancer in the Dark(黑暗中的舞者)中母亲对儿子牺牲的极限,神的眷顾是绞刑架上的舞者的一副眼镜;Dogville(狗镇)中天使(女)对凡人的牺牲的极限,神缺席,因为天使带上了神性的傲慢,像上帝一般惩罚了利用弱者的凡人。这一路的传统是牺牲,是Kierkegaard(克尔凯郭尔)《恐惧与颤栗》中讨论的亚伯拉罕献祭以撒的的精神哲学的探讨。
Antichrist中没有牺牲,女人和男人在这里被二元对立起来,emotion vs. rationality, subjectivity vs. objectivity, femininity vs. masculinity. 展现的是希腊文化中跟随酒神狄俄你索斯的女人的疯狂,同样的女人撕碎了诗人俄尔浦斯。片子中阳具的象征是阴郁而压抑的,女人的疯狂是相当“母系社会”的(酒神节的传统是母系)。男女的冲突成为不可调和,因为男性角色傲慢而理性,女性角色混沌而疯狂。
北欧的电影和美国电影很不一样。比如QT的Death Proof 中,女 vs. 男 只成为形式。女权的讨论从来不是QT的重点,虽然他很搞笑的拍出了貌似“枪杆子里面出女权”。美国文化的精神是橄榄球那样的。 - Re: Antichrist(2009)posted on 05/17/2010
:)记得这部电影,大学时看的,学校录像厅还特意拉上了厚窗帘,多有意思的放像厅。
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