Jacques Berthier

Davon 2022-03-25 09:01:19

[Movie Thoughts] "When you choose all your freedom, then you will get all your loneliness. If you go on like this, you will destroy yourself. You will sink deeper and deeper. If you want to survive, you should turn back now. A lot of my friends are on the road and are now dead, and the ones that...

Leonor 2022-01-18 08:02:30

Went to the French Cultural Center to watch a movie, and a free movie on Monday.
The heart has been tugging, and a nervous foreign man sitting next to him has basically the same behavior as Mr. Bean’s performance. After five minutes, I chose to leave my seat and sit on the floor steps. Later I...

Ericka 2022-04-19 09:02:44

The works of Varda, whose techniques are consummate. My personal favorite is the intersection with the philosopher and the Tunisian, where the capital-poor nihilist ends up dying. She used to be confident, happy and fearful, and hoped for stability after wandering. We seem to know her a little bit, but we don't seem to know her at all. In our eyes, she is just a corpse without an identity.

Ken 2022-03-15 09:01:07

1985 Venice Golden Lion Award. A pure wanderer, a woman who is always on the road, would rather live briefly and freely than be integrated into the discipline of the system. Varda used pseudo-documentary methods and [Citizen Kane]'s onion-peeling multi-perspective interviews to piece together the life fragments of the homeless woman, and sometimes placed her on the edge of the frame. In the end, we can’t really understand the inner world of the heroine. She is more like the incarnation of an actor pursuing pure freedom. Although she can’t be accepted by the viewers empathetically, she constantly asks hypocrisy and the huge society. Snare. In the flashback narrative, the characters often break the fourth wall, further strengthening the film's alienation effect. It is a typical New Wave imaging strategy to induce reflection, rather than make people identify. (8.5/10)