马赛 Marseille (2004)

Name: 马赛 Marseille
Genre: 剧情
Released: 2004-09-23
Duration: 1 h 35 min
Rating: 7.5
Cast: 玛伦·艾格特 Maren Eggert, 艾米莉·阿特夫 Emily Atef, 亚历谢斯·罗莱特 Alexis Loret, Eva Lageder, Elisabeth Beyer

导演: 安格拉·夏娜莱克
编剧: 安格拉·夏娜莱克
主演: 玛伦·艾格特 / 艾米莉·阿特夫 / 亚历谢斯·罗莱特 / Eva Lageder / Elisabeth Beyer / Mathias Baudez / Jérôme Leleu / Benjamin Granier / Sophie Aigner / Alexander Simon / 玛丽-卢·塞勒姆 / Louis Schanelec / 大卫·史崔梭德 / Bettina Schneider / Verena Jasch / Jacqueline Lütke-Poll / Ekaterina Medvedeva / Üzen Erfut / Maria Ponte / 沃尔夫冈·迈克尔
类型: 剧情
制片国家/地区: 德国 / 法国
语言: 法语 / 德语
上映日期: 2004-09-23(德国)
片长: 95分钟
IMDb: tt0360779

豆瓣评分

7.5

264人评价

5星

16.0%

4星

49.5%

3星

29.0%

2星

4.0%

1星

1.5%

想看看过

评价:

马赛的剧情简介 · · · · · ·

　　The first movie of the "Berliner Schule" ("La Nouvelle Vague Allemande" Cahiers Du Cinema) that gained international recognition with it being screened in the "Un certain regard"-section of Cannes Film Festival 2004.
　　After the very sparse white on black of the opening credits we see the back of Sophie's head. She's in a car, she speaks awkward French, the woman who drives gets ... (展开全部) 　　The first movie of the "Berliner Schule" ("La Nouvelle Vague Allemande" Cahiers Du Cinema) that gained international recognition with it being screened in the "Un certain regard"-section of Cannes Film Festival 2004.
　　After the very sparse white on black of the opening credits we see the back of Sophie's head. She's in a car, she speaks awkward French, the woman who drives gets out, gets her a map, of Marseille. We learn, very soon, that they are exchanging apartments, the other woman, her name, we learn later, is Zelda, will go to Berlin and Sophie will stay, for a few weeks, in Marseille. Zelda says: Guten Tag, Auf Wiedersehen, Mein Freund, der Baum, ist tot - the latter phrase being a German song by a German singer who died young. Zelda disappears, Sophie stays. Zelda very literally disappears because there won't be a trace of her when Sophie will return to Berlin. The Marseille apartment, empty, unlived in as it is, will have been a gift, something inexplicably given in a film that ends with something - almost a life - taken.
　　Sophie, for the first third of the film, is in Marseille. She walks around, she takes pictures. She looks at the pictures, she moves without a direction, the camera is with her, sometimes distant, sometimes following her closely. Sophie is a stranger in a strange world, she sometimes seems cut off from her surroundings. We hear sounds, we see her face but the background is blurred. She does not seem unhappy, she does not seem happy. She does not talk much and she always thinks for a long time when she is asked. In the end she will be asked what it is she photographs. She will think for half a minute (or perhaps she does not think, but simply refuses to answer, to herself, to the policeman who asks) and then she says: The streets.
　　We do not know much of her and we do not learn much of her in these minutes we spend in Marseille, walking around with her. She meets a young man from a garage, who lends her his car, she drives around, which we don't see. There is a lot we don't see - although it takes some time to realize how much. She meets the young man in a bar, they drink, a friend arrives who insults Sophie, for no reason. Sophie and Pierre, the young man, walk up in a street that is lit in brownish golden light and they sleep with each other, which we don't see (and, really, don't know). The next night they dance.
　　One very sharp cut later Sophie is back in Berlin, she is approached by a young woman who returns a cap to her, a cap she has left in a McDonald's restaurant before she went to Marseille. There is more she has left, or rather: she has run away from. (At least this is what can - but does not have to be - inferred.) There is Ivan, a photographer she might be in love with. There is Hanna, an actress, Ivan's girl friend, their son Anton. We learn more about Ivan, we learn more about Hanna. We see Ivan taking pictures of women workers in a factory, without an explanation. We just see and watch. We watch the women from a sidewards angle, then we watch Ivan taking the pictures, then we watch the woman from Ivan's perspective. They talk, but not much. We just hear and see and watch. There is a lot we see - although it takes some time to realize how much. We are left with these images. They remain unexplained and they don't explain what we see. "Marseille" has a bewildering structure, switching from the elliptical cut (shocking, really) to the insistent gaze (frustrating first, but amazing after all).
　　For ten minutes, at least, we watch a rehearsal. Hanna plays a minor role in a Strindberg play. The same scene is rehearsed three times. We watch the man talking to the woman in an aggressive Strindberg way and we see Hanna entering the stage. Then the camera moves to the left and we watch the woman answering to the man in an aggressive Strindberg way. This time we don't see Hanna entering the stage. When leaving she makes a mistake, she adds a word that does not belong in her line. We see her then off stage, cowering. Hanna is not happy. She is not happy with David, she suffers from unexplainable pain. We do not learn much more about her. Sophie is out of sight for quite some time. We start doubting if this is really her story we are told. Oh yes, it is, but Schanelec refuses to follow her and her story in linear fashion. Ivan's taking of pictures, Hanna's rehearsal become important, not so much as explanations for their behaviour, just as the parts of their lives Schanelec has decided to follow.
　　Sophie then returns to Marseille and after the most daring ellipsis we see her at a police station, in a yellow dress. She sits, then she talks, then she does not talk for half a minute. She is asked what it is she photographs. The streets, she says after what seems a very long time. She cries. We see her on a sidewalk, the camera moving parallel to her. She crosses the street, the camera remains on the sidewalk, Sophie is moving away from it. Then she stops and the camera stops. She enters the German consulate. In Schanelec's (and cinematographer Reinhold Vorschneider's) films you see the most intelligent and subtle travellings imaginable - and even mor effective as they starkly contrast with a lot of very long, very static takes that just make you watch and see.
　　"Marseille" ends with a series of takes on the beach. It is getting dark, the streetlamps are switched on. We see Sophie in her yellow dress, distant, moving, we see the sea and there is a strange kind of consolation in this image of the dress, Sophie, the sea.

马赛的获奖情况 · · · · · · ( 全部 )

第57届戛纳电影节
一种关注单元一种关注大奖(提名)
安格拉·夏娜莱克

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马赛的短评 · · · · · · ( 全部 98 条 )

2 有用 btr 看过 2019-04-07 18:54:17

柏林学派早期作品。关于孤独、欲望、亲密感和交流（的困境）。每个场景几乎都有精密的构图和场面调度。叙事简约反而凸显了向内的情感和整体的气氛。

1 有用把噗看过 2013-10-07 12:40:01

依旧美妙！

1 有用 xkan 看过 2020-10-31 14:54:53

ANGELA SCHANELEC 的早期作品，奇异的叙事结构。上半段和《安娜的旅程》有异曲同工之妙，下半段回到Sophie的柏林生活，基本放弃了过多的背景介绍，进而导致了一些疑惑。结尾依旧缺少铺垫，或者说没有铺垫，在某个海滩结束。

0 有用安看过 2013-11-03 01:22:20

依然画面美。

6 有用刘浪看过 2019-05-31 08:00:46

Schanelec电影通常难以完全复原人物关系与事件联系，大都明显地露着裂缝，本片最大的两处跳进便刚好发生在离开马赛与重回马赛之时。一个借由法语到德语的语言变化，完成时空的突换；一个从街道到警局，后置了强情节的激变。非常特别，我们不止会看到毫无目标的Sophie反复从画面中消失（于街道/人流/车流），甚至在中段接近三分之一的时间她从电影中彻底消失了，取而代之的是朋友夫妇毫无关联的工作片段（Hann... Schanelec电影通常难以完全复原人物关系与事件联系，大都明显地露着裂缝，本片最大的两处跳进便刚好发生在离开马赛与重回马赛之时。一个借由法语到德语的语言变化，完成时空的突换；一个从街道到警局，后置了强情节的激变。非常特别，我们不止会看到毫无目标的Sophie反复从画面中消失（于街道/人流/车流），甚至在中段接近三分之一的时间她从电影中彻底消失了，取而代之的是朋友夫妇毫无关联的工作片段（Hanna排练的话剧是斯特林堡的《死亡之舞》）。于是，前段是我无法进入他人生活，后段是他人生活与我无关，太孤独了。尽管全片如此多的时间里，我们陪着Sophie在公寓、街道、商场、酒吧、咖啡厅、巴士、地铁上打发时间，用相机捕捉马赛景观，最终仍然却一无所获，甚至自身都在街头事件中被夺走了，多么挫败。 (展开)

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马赛的影评 · · · · · · ( 全部 1 条 )

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蒂安 2023-01-26 20:03:42

夏娜莱克 |《马赛》的疏离沟通

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作者：Christian 首发于公众号：Beau Travail 安格拉·夏娜莱克 Angela Schanelec的新作《音乐》Musik 刚入围2023年第73届柏林国际电影节主竞赛单元，这届主竞赛有着强大的“柏林学派”导演，除了夏娜莱克外还有佩措尔德、霍奇豪斯勒、艾米莉·阿特夫与德国著名导演沃尔克·... (展开)