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電影從今天到明天

主演：未知

導(dǎo)演：達(dá)尼埃爾·于伊耶讓-馬里·斯特勞布

簡(jiǎn)介：Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.

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9.0

電影階級(jí)關(guān)系

主演：Christian Heinisch Nazzareno Bianconi 馬里奧·阿多夫勞拉·貝蒂哈倫·法羅基

導(dǎo)演：達(dá)尼埃爾·于伊耶讓-馬里·斯特勞布

簡(jiǎn)介：改編自卡夫卡未完成的長(zhǎng)篇小說《美國》，但其關(guān)注的并非真實(shí)的美國，更像是沒有詳細(xì)年代的關(guān)于美國的寓言。卡爾?羅斯曼由于丑聞而接受其舅舅的邀請(qǐng)搬去美國，然而他無法擺脫歐洲大陸舊式習(xí)慣，更糟的是，歐洲的階級(jí)結(jié)構(gòu)無法讓他通過自己的雙手謀生。這一電影版關(guān)注資本主義社會(huì)創(chuàng)造的殘酷而變幻莫測(cè)的階級(jí)關(guān)系。同時(shí)忠于原著而未添加影片的結(jié)局。施特勞布夫婦風(fēng)格的一貫操作與卡夫卡氛圍的完美結(jié)合：中景固定機(jī)位，面無表情的演員，人物肢體和語言刻意僵硬，強(qiáng)調(diào)側(cè)面特寫，鏡頭推進(jìn)及平移刻意突兀。由此我們可以尋求到改編卡夫卡作品的帶實(shí)驗(yàn)性的可能。

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2.0

電影西西里島

主演：Gianni Buscarino Angela Nugara Vittorio Vigneri

導(dǎo)演：達(dá)尼埃爾·于伊耶讓-馬里·斯特勞布

簡(jiǎn)介：一如他曾把卡夫卡小說幾乎「抽象」化，也把巴哈女士日記拍得如此地貼近音樂而非文字，Straub的這種風(fēng)格，除了執(zhí)拗地延續(xù)像MoulletGarrel這些新浪潮好友的「極簡(jiǎn)」手法之外，也算是為自己的「藝術(shù)」捍衛(wèi)的極高體現(xiàn)。　　看來，我還得回頭去看一下Pedro Costa為「我們時(shí)代的電影」系列，為這兩夫妻拍的那一集吧，或許，我才真正能向他們更靠近一些（到底是Costa像他們而找他拍，還是Costa本身確實(shí)受到兩夫妻的影響，而得到真髓，所以找來對(duì)他們最有研究的創(chuàng)作者來拍呢？這我們就不得而知了）？

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10.0

電影索福克勒斯的安提戈涅

主演：Astrid Ofner Ursula Ofner Hans Diehl Kurt Radeke Michael Maassen 賴納·菲利普 Werner Rehm Lars Studer Stephan Wolf-Sch?nburg Albert Hetterle Mario di Mattia 邁克爾·柯尼希利布加特·施瓦茨

導(dǎo)演：達(dá)尼埃爾·于伊耶讓-馬里·斯特勞布

簡(jiǎn)介：法國導(dǎo)演情侶組合斯特勞布-于伊耶與1991年將索福克勒斯的希臘悲劇《安提戈涅》搬上銀幕，文本上采用了德國浪漫主義詩人荷爾德林的著名翻譯，版本上則依照布萊希特40年代的改編，拍攝地點(diǎn)是西西里島上塞杰斯塔的一座古羅馬劇院遺址，拍攝時(shí)陽光明媚。影片背后文本的多層厚度賦予了本片以極強(qiáng)的現(xiàn)時(shí)性：就在拍攝當(dāng)年的夏天，美軍對(duì)伊拉克發(fā)起了第一輪進(jìn)攻。這是一部關(guān)于教育公民不服從的作品。

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3.0

電影沒有和解

主演：Heinrich Hargesheimer Carlheinz Hargesheimer Martha Staendner 達(dá)尼埃爾·于伊耶 Henning Harmssen Ulrich Hopmann Joachim Weiler Eva-Maria Bold Hiltraud Wegener Ulrich von Thüna Ernst Kutzinski Karl Bodenschatz Heiner Braun Georg Zander Lutz Grubnau 若阿內(nèi)斯·巴爾斯基保羅·埃塞爾

導(dǎo)演：讓-馬里·斯特勞布達(dá)尼埃爾·于伊耶

簡(jiǎn)介：The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich B?ll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert F?hmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation F?hmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

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3.0

電影恩培多克勒之死

主演：威廉姆·伯格 Georg Brintrup 霍華德·沃儂

導(dǎo)演：達(dá)尼埃爾·于伊耶讓-馬里·斯特勞布

簡(jiǎn)介：The subject of Danièle Huillet and Jean-Marie Straub’s Der Tod des Empedokles (The Death of Empedocles, 1987) is the Greek pre-Socratic philosopher Empedocles (c. 490 BC – 430 BC), who lived in the Greek colony of Agrigentum in Sicily. His theories are mentioned in several of Plato’s dialogues. He maintained that all matter is made up of four irreducible elements water, earth, air and fire. A mystic and a poet, he is considered to be the founder of classical rhetoric. He is also thought to be the last Greek philosopher to write in verse; two fragments of his works survive Katharmoi (Purifications) and Peri Phuse?s (On Nature). An advocate of democracy, he came into conflict with his fellow citizens of Agrigentum and, as result, was banished with his young disciple, Pausanius. When he was asked to return, he preferred to commit suicide by throwing himself into the active volcano at Mount Aetna.　　The German writer Friedrich H?lderlin wrote two versions of Der Tod des Empedokles in 1798 and 1800, and a final third version in 1820, all three ultimately unfinished. They were conceived as five-act tragedies and all three differ in plot. According to Michael Hamburger, H?lderlin’s English-language translator,　　the main reason why H?lderlin finished no version of the play must be that he remained too closely identified with Empedocles, at the very period in his life when his own view of the poet as philosopher, prophet and priest – and as tragic hero – was subject to perpetual crisis and re-examination.　　Huillet-Straub’s The Death of Empedocles is based on H?lderlin’s first version (the longest of the three), whereas Black Sin is based on the third version.

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9.0

電影工人，農(nóng)民

主演：未知

導(dǎo)演：達(dá)尼埃爾·于伊耶讓-馬里·斯特勞布

簡(jiǎn)介：Veteran experimental filmmakers Danielle Huillet and Jean-Marie Straub helmed this unusual adaptation of a novel by Elio Vittorini. Focused on the triumphs and failures of a group of laborers and farm hands who pooled their resources to operate an alternative collective farm after the end of World War II, Operai, Contadini features a cast of 12 actors who read aloud from Vittorini's book for the duration of the film, either reciting from memory or using a clearly visible script. Hardly designed to be a crowd pleaser, Operai, Contadini proved to be controversial among the audiences for its showings at the 2001 Cannes Film Festival, where it was screened as part of the Directors' Fortnight series. ~ Mark Deming, All Movie Guide　　The group makes up a primitive community which seeks to erase not only the distress created by the war but also the hardships of life and hunger, and to protect them from violence, misery and fear. Amid the ruins of this post-war period, the characters build and invent a rapport ?both in their professional and daily lives ?between themselves, the sexes, generations, diverse social and geographical origins, and antagonistic political camps.　　The group maintains a 'register', a kind of diary, as if it were entering the minutes of an inquiry or a trial. -Steve Grayson　　my favorite Straub-Huillet films are Too Early, Too Late and Operai, contadini (2001), both color landscape films with especially acute senses of place as well as of nature in all its harsh beauty. - Jonathan Rosenbaum

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4.0

電影安娜·瑪格達(dá)麗娜·巴赫的編年史

主演：Eckart Bruntjen Rainer Kirchner 古斯塔夫·萊昂哈 Christiane Lang

導(dǎo)演：達(dá)尼埃爾·于伊耶讓-馬里·斯特勞布

簡(jiǎn)介：影片拍攝于1967年，是至今為止關(guān)于偉大的音樂家巴赫最優(yōu)秀的影片，片名來源于英國作家同名小說，片中引用的對(duì)話、信件都取自巴赫生前的真實(shí)文件檔案。影片幾乎匯集了當(dāng)時(shí)音樂演奏界的精英，如哈儂考特、奧古斯特·溫欽格等，具有非常高的史料價(jià)值。與我們平日看到肖像畫上胖而結(jié)實(shí)的巴赫完全不同，由著名鋼琴演奏家和指揮家古斯塔夫·萊昂哈扮演的巴赫顯得瘦小文弱。影片問世后得到了當(dāng)時(shí)影評(píng)界的激賞。

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9.0

電影馬霍卡-莫夫

主演：Erich Kuby Renate Lang Guenther Strupp Rolf Thiede

導(dǎo)演：讓-馬里·斯特勞布達(dá)尼埃爾·于伊耶

簡(jiǎn)介：Straub-Huillet’s adaptation of Heinrich B?ll’s biting satire Bonn Diary presents the reflections of a reactivated officer who is summon ed to the West German capital by the Ministry of Defense to establish an Academy for Military Memories. Straub considered his film to be an intervention against German rearmament in the Adenauer era: "Machorka-Muff is the story of a rape, the r...

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搜索到與“達(dá)尼埃爾·于伊耶”相關(guān)的條結(jié)果

電影從今天到明天

電影階級(jí)關(guān)系

電影西西里島

電影索福克勒斯的安提戈涅

電影沒有和解

電影恩培多克勒之死

電影工人，農(nóng)民

電影安娜·瑪格達(dá)麗娜·巴赫的編年史

電影馬霍卡-莫夫

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