决斗 Duelle (une quarantaine) (1976)

Name: 决斗 Duelle (une quarantaine)
Genre: 剧情, 爱情, 悬疑, 奇幻
Released: 1976-09-15
Duration: 2 h 1 min
Rating: 7.8
Cast: 朱丽叶·贝尔托 Juliet Berto, 布鲁·欧吉尔 Bulle Ogier, 让·巴比雷 Jean Babilée, 埃尔米娜·卡拉戈厄 Hermine Karagheuz, 妮可·加西亚 Nicole Garcia

导演: 雅克·里维特
编剧: 爱德华多·德格雷戈里奥 / 玛丽卢·帕罗利尼 / 雅克·里维特
主演: 朱丽叶·贝尔托 / 布鲁·欧吉尔 / 让·巴比雷 / 埃尔米娜·卡拉戈厄 / 妮可·加西亚 / 克莱尔·纳多 / 伊丽莎白·维纳 / Jean Wiener / André Dauchy / Roger Fugen
类型: 剧情 / 爱情 / 悬疑 / 奇幻
制片国家/地区: 法国
语言: 法语
上映日期: 1976-09-15
片长: 121分钟
又名: 日月女神(台)
IMDb: tt0074443

豆瓣评分

7.8

542人评价

5星

24.8%

4星

47.3%

3星

23.3%

2星

3.4%

1星

1.2%

好于 21% 奇幻片
好于 24% 悬疑片

想看看过

评价:

决斗的剧情简介 · · · · · ·

　　Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is le... (展开全部) 　　Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep.
　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ.
　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality.
　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle.
　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked.
　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood.
　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

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决斗的短评 · · · · · · ( 全部 201 条 )

14 有用 TWY 看过 2018-09-03 11:59:57

里维特的类型片实验，一场绝妙的捉迷藏，他实实在在的是极少数能把古典的质感与不稳定的现代性来组合成完美影像的导演，宝石争夺的无限战争这样看似无聊的文本，却在伟大的作者的魔术中成为电影的双人舞（顾名思义），从演员到摄影机的每一个步伐都展现着曼妙的美丽和神秘。

2 有用 NanSLi 看过 2021-06-07 19:58:07

幻觉的高潮。却为何把蛋糕和透明的酒液吞咽干净。我渐渐地获得听觉的恢复：空气杂音和地板的回响——提示我来回走动；在这无人闯入的绿丛：走出一个透亮白皙的年轻女子。完整的身体即容貌——只在镜子中以碎片来显影。太阳与月亮同时在场/所以光线吹灭，镜子被击碎后的深夜。我真切地渴望死亡与宝石！此外走进视线的身体是光,在手臂上划开个口子后就穿透我的所有意识。

2 有用 Pincent 看过 2022-12-14 02:00:32 湖北

89/100 #第8100# 古典与现代、戏剧与现实的狩猎场，想到菲拉德。场面调度典范：人与人、人与空间、及其与摄影机之间不断保持运动与变幻的关系。二加二不再是四，环境噪音不一定匹配剪辑，神秘性自在其中，且结尾的神性是确凿的，而之前每场戏的情境都拒绝足够具体。

6 有用火娃看过 2017-08-13 20:32:03

6/10。运镜及空间调度来交代戏剧事件、省略时空，水族箱另一侧的无声谋杀、停车场和地铁站的场景，画外人物经常瞬间移位闯入景框，从门口窥视的摄影机推近牌局再拉回原位跟随人物走到已散场的赌桌；镜子前珍娜的剪影被宝石项链照亮、水晶柱和舞蹈室镜面映射日月女神的决斗，玻璃物件流淌出催眠的力量。 @2017-08-13 20:32:03

3 有用 DeckardYang 看过 2023-06-29 22:23:36 四川

【5+】创作上将核心动作（争抢宝物）松散地分布在神话叙事及舞台空间的每个角落，甚至带来了罕见的神乎其技的镜内调度。在角色们互相的漫长的Film Noir式的侦探-追逐中，我们见识到一座奇幻的现代巴黎，这次没有纷繁的秘密，但电影本身就像一座巨大的黑洞，得以藏匿太阳与月亮。//影史十佳。

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决斗的影评 · · · · · · ( 全部 2 条 )

热门最新好友

emfrosztovis 2022-12-14 13:42:42

笔记（2022.7.11）

副标题une quarantaine取其古义「四十（天）」。里维特七十年代的松软电影实际上与洪常秀有共通之处，尽管两者看上去完全不同：洪短小、现实、（后）现代、男性中心，里维特漫长、充满幻想、巴洛克、（看上去，至少）女性中心。它们的根基都是自由[1]，以及自由能使电影达到的... (展开)

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撵鹅 2022-07-14 01:24:46

关于雅克里维特电影特征的总结备忘

1，多用舞蹈化处理。并非只在行为动作上，站姿、神态，皆是夸张和抽象的。 2，特殊的闪回。闪回一般展现人物隐性的情感波动（潜意识），例如破碎的回忆，预感等…雅克里维特则有两点：表现人物潜在的心理状态，如「旋转木马」中的追逐断片；未来（或异世界）对现实的渗透，如「... (展开)

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