A Nigerian man embarks on an adventure in 1960s San Francisco in this rediscovered sensation, which blends documentary and fiction, and manages to collapse and reinvent itself along the way. The greatest rediscovery of the last year, screened in a newly restored version.
Reality doesn’t just surpass fiction in ‘Bushman’ – it overtakes it, and you have to see exactly how with yo...
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A Nigerian man embarks on an adventure in 1960s San Francisco in this rediscovered sensation, which blends documentary and fiction, and manages to collapse and reinvent itself along the way. The greatest rediscovery of the last year, screened in a newly restored version.
Reality doesn’t just surpass fiction in ‘Bushman’ – it overtakes it, and you have to see exactly how with your own eyes. A Nigerian man arrives in the hippie capital of San Francisco in the late 1960s and befriends a biker and his pals. It’s a time of rebellion, cosmic love and revolution. However, if ‘Bushman’ is a time capsule (and it is), the traditional roles are reversed: Here, the African guest becomes the lens through which the film (and we) view the American myth with an anthropological gaze, before the film takes another completely unpredictable twist in its final third – but this time reality is, in the director’s own words, ‘faster than fiction’. Drawing inspiration from revolutionary African cinema, European cinéma vérité and American New Wave, it should have been a classic. Instead, it was forgotten until it was re-released last year in the new and restored version we are showing here, which was received as a sensational rediscovery at the historic film festival Il Cinema Ritrovato.
源自：https://cphdox.dk/film/bushman/
布须曼人的短评 · · · · · · ( 全部 7 条 )
1 有用 没有昵称 看过 2024-05-02 05:25:43 法国
最容易联想到的比照肯定是卡萨维蒂斯的《影子》。自由而流动的叙事（剧情本身、男主对着镜头的直接讲述、回忆资料影像几种介质的穿插，节奏感非常好）、对当时黑人知识青年在美国（包括进步的大学氛围中）遭受的各种歧视的描绘、对男主自身处境（在美国各种憋屈，尼日利亚则陷于内战）和自我认知无保留的展示，都让人觉得这仍是cinéma vérité的一种变体。这部片在自由与流动的同时，也充满了可见的拧巴与压抑：一开场... 最容易联想到的比照肯定是卡萨维蒂斯的《影子》。自由而流动的叙事（剧情本身、男主对着镜头的直接讲述、回忆资料影像几种介质的穿插，节奏感非常好）、对当时黑人知识青年在美国（包括进步的大学氛围中）遭受的各种歧视的描绘、对男主自身处境（在美国各种憋屈，尼日利亚则陷于内战）和自我认知无保留的展示，都让人觉得这仍是cinéma vérité的一种变体。这部片在自由与流动的同时，也充满了可见的拧巴与压抑：一开场便是男主赤着脚、头顶着球鞋在公路旁转悠的画面，仿佛这个世界是颠倒的；中间男主与黑人女友的那些对话更是既幽默又无比悲观与清醒。在虚构与回忆镜头结合的一个多小时后，影片“戛然而止”，我们得知饰演男主的演员真的被遣送了：他被有意栽赃指控为搞爆炸，被关押、判罪，然后遣送…现实竟比剧本更残酷。 (展开)
0 有用 scherzo 看过 2024-10-24 03:55:27 荷兰
MUBI Can you dig it?/1968年是尼日利亞內戰的第二年/故鄉村子的影像和聲音與洛杉磯的新生活混剪重疊在一起，其實這更貼近一個移民的真實體驗/SF State College Strike運動中Paul被污衊，被關一年後被遣返/Paul的自述太吸引人了
0 有用 3dayslater 看过 2024-02-04 10:06:54 加拿大
Fiction is no stranger than life.
0 有用 Osion 看过 2024-02-04 16:21:59 日本
6/10
0 有用 黑色矫情怪人 看过 2024-04-25 04:00:02 法国
24.04.2024于Reflet Médicis