[Jean-Luc Godard|À bout de souffle]精疲力盡

Title：À bout de souffle
aka：Breathless
Director：Jean-Luc Godard
Release Date：1960
Genre：Drama
Country：France
Language：French / English
IMDb

簡介。。。。。。

The first feature film directed by Jean-Luc Godard and one of the seminal films of the French New Wave, Breathless is story of the love between Michel Poiccard, a small-time hood wanted for killing a cop, and Patricia Franchini, an American who sells the International Herald Tribune along the boulevards of Paris. Their relationship develops as Michel hides out from a dragnet. Breathless uses the famous techniques of the French New Wave: location shooting, improvised dialogue, and a loose narrative form. In addition Godard uses his characteristic jump cuts, deliberate "mismatches" between shots, and references to the history of cinema, art, and music. Much of the film's vigor comes from collisions between popular and high culture: Godard shows us pinups and portraits of women by Picasso and Renoir, and the soundtrack includes both Mozart's clarinet concerto and snippets of French pop radio. When Breathless was first released, audiences and critics responded to the burst of energy it gave the French cinema; it won numerous international awards and became an unexpected box-office sensation.

我的碎碎唸。。。。。。推薦指數：8.2/10

電影描寫了一個蔑視社會、憤世嫉俗的偷車賊，在一次次逃脫中尋找希望。 《筋疲力盡》可以說違背了所有經典電影的原則，這部電影的拍攝時間總共只有4個星期，戈達爾不用分鏡頭劇本，不租攝影棚，不用任何人工光源，膠片甚至使用 了改裝的普通照相膠卷，他把攝影機藏在一輛從郵局藉故來的手推車裡，推過去，拉過來……真正富有創造性的是那神經質似的快速變更的剪輯手法，它令所有觀眾 和電影評論家目瞪口呆，生硬的、無規則的剪接、隨意的跳接、跳軸、散亂的故事、不可理喻的人物，晃動的鏡頭、畫面錯位的構圖，特寫鏡頭之後接遠焦鏡頭、演 員有時似乎串通一氣詭異地朝著鏡頭張望，極端蔑視傳統電影技法，既表現了主人公內心無主、坐立不安的浮躁性格，又反映了社會的無秩序、無方向以及人懷社會 環境的徹底脫節。這是戈達爾的第一部長片，也使戈達爾一舉成名，這個“當代最偉大的電影藝術家”，帕索里尼說：“全世界的新電影中至少有一半是戈達爾式的 電影。 ”布努艾爾： “除了戈達爾，我絲毫看不出‘新浪潮’有什麼新東西。”《精疲力盡》被視為新浪潮電影運動的美學宣言，戈達爾在拍完此片後的感覺是：“我終於能拍出一部我 夢想拍攝的無政府主義電影了。”

[Agnès Varda|Cleo de 5 a 7]五點到七點的克萊奧

Title：Cleo de 5 a 7
aka：Cleo from 5 to 7
Director：Agnès Varda
Release Date：
Genre：Drama
Country：France
Language：French
IMDb

簡介。。。。。。

Writer/director Agnes Varda's Cléo de 5 à 7 is one of the more unassuming works in the French New Wave -- it has neither the historical gravity of, say, Alain Resnais's Hiroshima Mon Amour nor the shock value of Jean-Luc Godard's À Bout de Souffle -- but in its own quiet way, it offers a meticulous record of one woman's capacity to observe, dream, and feel. In near real-time, we follow pop singer Cléo (Corrine Marchand) as she waits for her doctor's veredict on a cancer test; though the subject matter is heart-rending, Varda's athletic direction prevents the film from becoming a cloying weepie. In true New Wave fashion, she incorporates any technique that suits her needs: a meandering soundtrack that picks up ancillary characters' conversations; subjective point-of-view shots; titles that separate the film into "chapters"; and documentary-style snatches of street life. Instead of cluttering the film, Varda's flourishes have a breezy, existential quality that underscores Cléo's impending news without trivializing her predicament. Marchand aids the director immensely; her intuitive performance suggests a brainier Marilyn Monroe afflicted with spiritual malaise. -- Michael Hastings

我的碎碎唸。。。。。。推薦指數：8.5/10

《五點到七點的克萊奧》是瓦爾達的第二部長片，表現了一位法國女歌手在等待醫院診斷結果的兩小時中的心理活動，以大膽的導演構思、對複雜表現手段的靈活運用、演 員的出色表演而成為新浪潮的重要代表作之一，確立了她作為一名成功的女性導演的地位。此片也是“女性主義”電影的代表作。導演瓦爾達1928年出生於布魯 塞爾，1954年，她組建了塔里瑪斯影片公司，編導了一部風格界於故事片和紀錄片之間的《短岬村》。這部影片早於新浪潮電影運動4年而成為其先聲作品，巴 讚說這部難以歸類的影片“自由而純淨”，法國電影史學家喬治•薩杜爾稱之為“法國新浪潮的第一部影片”。此後，瓦爾達以“新浪潮之母”的盛譽聞名於西方影 壇。(轉)

[Alain Robbe-Grillet|Glissements progressifs du plaisir]欲念浮動

Title：Glissements progressifs du plaisir
aka：Successive Slidings of Pleasure
Director：Alain Robbe-Grillet
Release Date：1974
Genre：Drama
Country：France
Language：French
IMDb

簡介。。。。。。
Slow Slidings of Pleasure

Although this was made before writer/film director Alain Robbe-Grillet's slightly less obscure "Playing with Fire", it is even more deranged, surrealistic, perverse, and non-narrative than that one. It kind of resembles the early French surrealist films of Luis Bunuel and Salvador Dali except that it is in color and contains Robbe-Grillet's usual manipulation of time and narrative (see "Last Year at Marienbad" or any of his novels). The film seems to be about a young student who is questioned by both police and religious authorities after her roommate is found bound and murdered. Except it's not clear that her roommate is actually a real person or just a mannequin in a bizarre art piece, and it's not even really clear whether she's being questioned after or BEFORE she commits this "murder".

Like several other French filmmakers of this era, Robbe-Grillet got away with making such an experimental, non-narrative feature by adding softcore sexploitation elements, but he doesn't "sell out" as much to the sexploitation angle as some of his country-men like Jean Rollin or Walerian Borowzyx (which might be one of the reason his films are a lot harder to find today). There is very little straight erotic sex in this film; instead there is a kind of extreme polymorphous perversity that at times is pretty disturbing. There are A LOT of scenes of both women and female mannequins in sadomasochist/bondage poses and splattered with blood or red paint. There is also a little bit of "Lolita-ism". The main star, Anicee Alvina, is a beautiful girl with a great body (a long, strange scene where she covers her glorious full-frontal nakedness with red paint and makes "self-portraits" by pressing herself against the white walls of her cell is especially memorable), but she was only in her late teens/early 20's here and could certainly pass for younger, especially since Robbe-Grillet often has her dressed (when he has her dressed at all, that is) in a "baby doll" outfit or a Catholic schoolgirl uniform.

Aside from Alvina this movie doesn't have the "name" cast of "Playing with Fire" (i.e. Sylvia Kristel, Agostina Belli). It does, however, feature an early appearance by Isabelle Huppert, who is now probably THE most respected actress in France. (This is kind of like finding out that Meryl Streep was once in a softcore porno "art" film early in her career, but then Huppert has always been a much more daring actress than Streep). I'm not sure which character Huppert plays exactly--I think she's one the protagonist's school-mates since she was would have been even younger than Alvina back then.

Very interesting film--I'd recommend it to any fan of arty, weird, and/or perverted films.（from IMDb）

我的碎碎唸。。。。。。推薦指數：7.0/10

阿蘭·羅伯-格里耶1922年生於法國布勒斯特，就學於巴黎，是法國“新小說派”代表作家之一。 1945年在法國國立農藝學院畢業後，獲得農藝工程師證書，在國家統計院及殖民地熱帶水果研究所工作，曾到非洲各地從事水果研究。五十年代格里耶開始文學 創作。 1953年，他發表成名作《橡皮》，1955年因發表《窺視者》獲當年法國評論家獎。之後，他在巴黎午夜出版社擔任文學顧問，同時從事寫作及攝製電影。他 的主要作品除《橡皮》、《窺視者》以外，還有《嫉妒》（1957）、《在迷宮中》（1959）、《快照》（1962）、《紐約革命的計劃》（1970） 、《美貌的女俘虜》（1975）；理論著作有《新小說闡明》（1963）。他的電影小說《去年在馬里昂巴特》（1961）曾由法國新浪潮電影著名導演阿倫 ·雷奈攝製成電影，獲得同年威尼斯電影節大獎。有一個時期，格里耶專門從事電影創作，認為電影藝術比小說更適於客觀地記錄事物的世界，描繪現代人復 雜多變的內心活動，表現時間的跳動，以及現實、想像、幻覺、夢境的交錯。他在1963年單獨攝製的影片《不朽的女人》獲德路克電影獎。並在美國講學，被認 為是"新小說派"的代表。法國<讀書>雜誌第二百八十七期刊登了伊萊娜•弗蘭整理的阿蘭•羅伯-格里耶訪談錄。用他自己的話來說，他寫作是因為他不理解這個世界，這個思想可以上溯到卡夫卡和克爾愷郭爾。

我看的第一部格裏耶的作品，對他的了解還很膚淺。有一套書叫做《格裏耶作品選集》將他幾乎全部的作品編錄進去，有時閒一定要找來看一看。這部電影非常超現實、不同尋常。幾乎沒有故事体，大體的意思是一個女孩被警察和宗教當局懷疑在家中利用類似于巫術的方式進行謀殺，使她的室友毫無反抗地死去（還是沒有字幕，非常遺憾地不能得知格裏耶的電影臺詞）。一切都是混沌的、夢幻的、不清晰的，就如同女主角似乎也不清楚在她的眼中室友到底是商店裏擺放的人體模特，還是一個真實的人。色慾讓人迷亂與無知，它導致了謀殺。是妒嫉，還是憎恨，抑或是兩者兼有？老實說，我對這部電影一知半解。但是格裏耶超現實主義的創新意識，使他的電影中一個一個具有實驗性質的瞬間和意象非常吸引人。這是一部獨特、個性、古怪的藝術電影。

[Just Jaeckin/Shuji Terayama/Walerian Borowczyk|Collections privées]私人典藏

Title:Collections privées
aka:Private Collections
Director:Just Jaeckin/Shuji Terayama/Walerian Borowczyk
Release Date:1979
Genre:Drama / Fantasy
Country:France / Japan
Language:French / Japanese
IMDb

簡介。。。。。
Three short films are gathered together in Collections Privées. The first is L'Ile Aux Sirenes (Island of the Sirens), directed by Just Jaeckin. In the story, a wealthy lout who is out yachting is washed overboard and winds up on an island where his sexual whims are catered to by four beautiful women. He is having a truly paradisiacal time until he discovers what they really relish about him. The second is Le Labyrinthe d'Herbes, directed by Shuji Terayama. The prostitute mother of the young man in this story used to sing him to sleep as an infant and toddler with a certain song. Now that he is approaching sexual maturity, he is obsessed by the need to find out what the words were to her song. The last film included is L'Armoire, directed by Walerian Borowczyk. In it, a Folies-Bergère dancer rents herself out to a wealthy and jaded Parisian who is shocked to discover where she has hidden her child in order to accommodate his sexual pleasure.(from AMG)

我的碎碎唸。。。。。。評價指數：6.0/10

我是因爲Shuji Terayama（寺山修司）才到處尋找這部電影的，結果卻發現這部電影中寺山的部分實際上就是草迷宮。草迷宮這部電影，這是我第二遍看了，但是依然沒有完全理解。我喜歡這部電影，喜歡它之中的每一個意象，每一個隱喻。我想我會再去看它的，直到明白爲止，所以還是以後單獨的寫一下吧。

這部電影分爲三個段落，第一個段落名叫L'Ile Aux Sirenes (Island of the Sirens)，導演是Just Jaeckin，法國著名情色導演（哈哈，我對這種稱謂有點感冒），最著名的作品就是查泰萊夫人的情人，還有什麽Emmanuelle。但是我都沒有看過。Island of the Siren是講一個船員在船行駛的過程中突然發生意外落水，被海浪推到了一個荒無人煙的孤島上，卻在島上遇見了一個土著美女。這個女人把他帶到她的部落，實際上只有四個女人的部落。他們一起吃喝玩樂，享受性愛的快樂。男人以爲他到了天堂，他甚至放棄了來自過往船隻的逃生機會。許多天過去后，男人開始厭倦並且恐懼這種野蠻的原始生活，並且還在土裏突然發現了皮帶和眼鏡的碎片。他，已經意識到他不是第一個來到孤島的人，但是以前那些來到的人哪裏去了？當他漸漸明白一切決定逃離的時候，才發現自己在這個孤島上孤立無援、無路可走。而這時這四個女人已經漏出她們食人族的真面目。。。Just Jaeckin還是很仁慈的，他將這殘忍的故事最終歸結為男人的夢境，也使得這個故事回味無窮。到底是天堂還是地獄？地獄經常有著天堂般的美好外表，在美色面前迷失方向，最終會毀于欲望。女主角Laura Gemser出生于印尼爪哇，有著棕色人種的野性之美，Jaeckin在他十分鈡的採訪短片中對她評價頗高。

第二段就是草迷宮。第三段是波蘭導演Walerian Borowczyk的L'Armoire。一個男人爲了排解自己的鬱悶和寂寞，去夜總會找了一個舞女陪他過夜。他認爲舞女只是爲了錢，而且和他談話總是在撒謊，但是最後他才發現了藏在櫃子裏的孩子。他是舞女的兒子，母子倆過著貧窮的生活，女人爲了讓孩子上學，想盡各種辦法賺錢。男人感到很慚愧，給了孩子很多錢后就離開了。第二天，舞女一直環顧四周尋找這個男人，而男人只是在隱蔽之処默默地注視著她。這是一個關於排解欲望的故事，夜總會中有著形形色色的人，無論是同性戀還是異性戀，這些寂寞的男男女女都以他們的方式排解自己的寂寞。而這段看似平凡的故事在這些人中間又顯得那麽不平凡，因爲它至少有著並不膚淺的情感和結局。

三位導演，而且后兩位已經去世，他們以自己的觀點，自己的視角來編織故事，詮釋著他們對性、愛、欲這個主題的看法，在這平凡、普遍的命題下展現不平凡的人類思想與情感。

去豆瓣上看看。。。。。。