家庭电影，在'处女之床'的片场 Home Movie, autour du 'Lit de la Vierge' (1968)

Name: 家庭电影，在'处女之床'的片场 Home Movie, autour du 'Lit de la Vierge'
Genre: 纪录片, 短片
Duration: 39 min
Cast: 蒂娜·奥蒙特 Tina Aumont, Pierre-Richard Bré, 皮埃尔·克里蒙地 Pierre Clémenti, 菲利普·加瑞尔 Philippe Garrel, 琼-皮尔里·卡尔弗恩 Jean-Pierre Kalfon

导演: Frédéric Pardo
主演: 蒂娜·奥蒙特 / Pierre-Richard Bré / 皮埃尔·克里蒙地 / 菲利普·加瑞尔 / 琼-皮尔里·卡尔弗恩 / Babette Lamy / 祖祖
类型: 纪录片 / 短片
制片国家/地区: 法国
语言: 无对白
上映日期: 1968
片长: 39分钟
IMDb: tt1230139

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家庭电影，在'处女之床'的片场的剧情简介 · · · · · ·

　　Filmmaker Philippe Garrel has always discussed the importance of painting for his cinema and, specifically, the painting of his longtime friend Frédéric Pardo. In this film, Pardo documents the Garrel inner circle in Morocco in 1968 on the set of Le Lit de la Vierge. While the stars of the Garrel film were Pierre Clémenti and Zouzou, here in Pardo’s behind-the-scenes view it is... (展开全部) 　　Filmmaker Philippe Garrel has always discussed the importance of painting for his cinema and, specifically, the painting of his longtime friend Frédéric Pardo. In this film, Pardo documents the Garrel inner circle in Morocco in 1968 on the set of Le Lit de la Vierge. While the stars of the Garrel film were Pierre Clémenti and Zouzou, here in Pardo’s behind-the-scenes view it is Garrel’s peripheral actors who take center stage: Pierre-Richard Bré, Jean-Pierre Kalfon, Babette Lamy, and above all, the luminous Tina Aumont. The Zanzibar equivalent of The Chelsea Girls, Pardo’s home movie is a mystical, life-affirming celebration.
　　Frédéric Pardo was a famous painter and partner to actress Tina Aumont (PARTNER, LE LIT DE LA VIERGE, daughter of Maria Montez). The couple often played host to the other Zanzibar members, creating communal, salon-style settings for creative projects. HOME MOVIE: ON THE SET OF PHILIPPE GARREL'S 'LE LIT DE LA VIERGE' documents Garrel's inner circle in Morocco in 1968 on the set of one of the director's most mystical films. Its behind-the-scenes footage is also a portrait of Pardo's lover, the enigmatically beautiful Aumont.
　　Between 1968 and 1970, Sylvina Boissonnas, a young French heiress and patroness of the arts, financed the production of some fifteen films that would prove highly influential while remaining largely unknown outside of France. Under the banner of “Zanzibar Films” (a name taken from the Maoist island nation in East Africa), a decidely informal collective of about a dozen artists, writers, and students began to make their first films. While the New Wave filmmakers had been in their late twenties and early thirties when they began filmmaking, the Zanzibar directors were younger (Philippe Garrel, one of the key figures, was just twenty) and were inspired by the heady spirit and times of May 1968. These filmmakers quickly became the darlings of Henri Langlois, who often showed their films at the Cinémathèque Française in late-night screenings. Despite their diversity, the Zanzibar films were marked by minimal scripts, the use of nonactors and improvisation, and strong ties to both the art world and the world of fashion. (Several of the Zanzibar participants spent time in Warhol’s Factory in the mid-1960s.) Their films represented the French equivalent of the American underground, and these young cinéastes quickly became the radical dandies of May 1968.

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家庭电影，在'处女之床'的片场的短评 · · · · · · ( 全部 6 条 )

0 有用 Pincent 看过 2023-03-21 21:39:40 湖北

78/100 #henri@cinematheque.fr# 2023新修2K

0 有用戈尔贡佐拉看过 2023-05-16 00:29:20 河南

无声 60s的美好本质就像片尾那条腐烂晒干的蛇 herb

0 有用七看过 2019-04-11 11:43:05

美丽小短片

1 有用 ★ 看过 2012-10-05 18:34:01

5Philippe Garrel這種意識流電影，在Frédéric Pardo的剪輯下，短短的3'49s就讓你明白了電影的意義在於什麼。沒人會覺得這是一部home movie，它更像是戲中戲，或者是腦海中的抹不去的回憶。只言片語也好，碎片記憶也罷，時間即使再無情，也會心軟地為人類打開意淫的大門，去填充那些不完美的過去。