Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, The Death of Louis XIV (2016). This Sun King features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films. Very different body weight, here in ...
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Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, The Death of Louis XIV (2016). This Sun King features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films. Very different body weight, here in expansion, there in retention; a different way of putting his face in it: there, at the service of an astonished child’s gaze, here, singularly chubby, as if extending without any solution to all of his corpulence; here, the invention of sovereignty constantly reinvented, and there, the kingdom of innocence vaguely struck by idiocy. And the props: if the tale in the first version needed Versailles or an imitation of it, the second one reduces the palace to a luminous halo. True, this time we are stuck between bare walls, white-washed with pink coating (the color of twilight?) under neon lights at the ceiling. Here, for a long time, this king has been left to his own devices, moaning on the floor, with a stomach ache as severe as it is hilarious, with rare trinkets all around. Then we see spectators entering the field to see Her Majesty’s rants, his hair (as wigs were called then) and sumptuous clothes characteristic of that era, and spectators dressed in anorak. So what, then: capturing a performance? If the art gallery really frames the « action », what we find here is calculation, cutting up, montage; in short: a film, and no misunderstanding. And a film whose paths familiar to everyone Serra’s work point to: aristocracy in all its grandeur, its stupidity and its agony, the representation of power, the forces of art. Between the sublime and the grotesque, between derision and the derisive, between Buñuel and Dali, a royal figure engages in a quest for his death mask.
太阳王的短评 · · · · · · ( 全部 54 条 )
3 有用 把噗 看过 2018-11-27 10:48:23
场景可太Olafur Eliasson了…
1 有用 bloom 看过 2018-12-26 00:33:31
讲真可能是世界上独一无二的匹配女性（或者说我）经痛的影像，血液的红、伴随翻覆的呻吟、地面带来的冰冷触觉、阵痛自怜哀怨忍耐以及他人的冷眼旁观与不适存在，乃至大脑里的奇异声音。哈哈，或许可见塞拉对suffering的提纯纯度。当然也不能抛开作品的背景——对路易十四死亡纪事理念的展示来看，太阳王是一具封塑像，栩栩如生，它在美术馆中的展出，将痛苦引来穿过了所有的边界。但一个展览作品的“电影化”到底带来什么... 讲真可能是世界上独一无二的匹配女性（或者说我）经痛的影像，血液的红、伴随翻覆的呻吟、地面带来的冰冷触觉、阵痛自怜哀怨忍耐以及他人的冷眼旁观与不适存在，乃至大脑里的奇异声音。哈哈，或许可见塞拉对suffering的提纯纯度。当然也不能抛开作品的背景——对路易十四死亡纪事理念的展示来看，太阳王是一具封塑像，栩栩如生，它在美术馆中的展出，将痛苦引来穿过了所有的边界。但一个展览作品的“电影化”到底带来什么，似乎又是另一个问题。是引导体验还是，这个封印物从精神到物质，从上层到下层的移动？ (展开)
1 有用 介意 看过 2018-10-06 07:15:44
@FSLC. “Enjoy the suffering” (Serra’s introduction) doesn’t really sum it up; it culminates in a cue of the parody of that culmination.
2 有用 Lies and lies 看过 2018-12-15 01:35:10
奇特的三幕剧，二楼为王 - 一楼为人 - 他人为王。视角有点接近美术馆保安，以冷漠又略带窥私的方式，守卫“历史”的进行。总感觉镜头逻辑和空间逻辑有点不匹配。回想《堂吉诃德》，随意地做一个空间切片，因为无尽而不重复的自然，实际上也是一个时间的切片。但在美术馆这样的空间里，似乎难有这样的效果。
0 有用 Pincent 看过 2022-09-28 18:04:09
86/100 电影是什么？与观众的关系何如？历史人物与作为现代之物的电影或艺术场馆其中人物的关系何如？抽调多余的意义，产生新的意义。也依然是逐渐死亡的过程。