441
8.0
正片
万尼亚舅舅
8.0
上映时间:04042025430071717pm25
主演:托比·琼斯,罗杰·阿拉姆,理查德·阿米蒂奇,艾米·卢·伍德,安娜·考尔德-马歇尔,罗莎琳德·以利亚撒,迪尔巴拉·莫洛伊,彼得·怀特
简介:疫情时期特别录制、伦敦西区2020年全新复排版契诃夫名作《万尼亚舅舅》在结束演出后,又重回哈罗德·品特剧院录制了这一五星作品。在全球大部分剧院仍处于黑暗之中时,给人们带来一剂警醒的力量和希望。被《旗帜晚报》誉为“我们时代的‘万尼亚舅舅’”。此版复排由奥利弗奖得主、出演过《美国队长》《控方证人》等剧的托比·琼斯,和因《霍比特人》《南方与北方》走红的理查德·阿米蒂奇领衔主演,录制版本还邀请到两度奥利弗奖得主罗杰·阿拉姆加盟,卡司阵容十分抢眼。剧本由康纳·麦克弗森全新改编,著名导演伊恩·里克森再度操刀,献上一部"完美"“尖刻”“精彩绝伦”的复排,获得包括最佳话剧男演员、最佳导演在内的四项奥利弗奖提名。契诃夫名作《万尼亚舅舅》讲的是精神信仰的幻灭,从另一个角度看蕴含着重建的希望:万尼亚舅舅和他的外甥女索尼娅常年住在乡下庄园,只有医生阿斯特罗夫偶尔来访。万尼亚舅舅日复一日庄园劳作、翻译著述和誊写稿子,都是为了索尼娅的父亲、他的姐夫谢列勃里雅科夫教授。对教授的崇拜,支撑了万尼亚舅舅半生辛苦的价值,然而教授带着新婚的年轻妻子回到庄园时,一切秩序和幻想都被打破了……
441
正片
万尼亚舅舅
534
8.0
正片
马丁·弗罗斯特的内心生活
8.0
上映时间:06062025630050303am25
主演:大卫·休里斯,伊莲娜·雅各布,迈克尔·因佩里奥利,索菲·奥斯特
简介:  what motivated me up to the new director's festival to catch 'martin frost' tonight was the brutal review that it got yesterday from the lead critic of the new york times, brutal dismissal, to be more accurate, 'the less said about (it) the better', she said, and i figured that any movie able to teach Ms Dargis the virtue of silence for even a few column inches would be worth the trip.  and worth the trip it was. we are brought into a paradise of limpidly beautiful visual textures. the oaken rhythms of a country house ensconced in a springtime parkland of luxuriant trees and luminous skies bestow the soothing natural blessing needed by the main character, martin frost (David Thewlis), a writer rubbed raw by the mechanics of finishing a novel in new york city. (Thewlis makes palpable the casualty of intrapsychic machinery sawed into daemonic reverb against the banausic hive). then paradise morphs into purgatory, leavened comedically, in Dante's sense, by the postmodern angelic visitations of Claire (Irene Jacobs) and Anna (Sophie Auster).  unfortunately, to my taste, the verbal dimensions of the film are flaccid, the logic more fanciful than imaginative, the narrative arc crippled by some irredeemably creaky plotting, especially at the crucial initiation of the relationship between martin and Claire where the seeds of common sense are thrown to the magpies of theatricality.  but so beguiling is the willful vulnerability of auster's fantasy, and the edgy interplay that it potentiates between Thewlis and Jacobs, and the camera, and later Sophie Auster, and the broad comedy of a rural everyman (Michael Imperioli), that it is very pleasant to be carried along on the visual foam of uncertain sensual delight, eddying into a feeling that this film's oddly louche light touch is uniquely adept at tracing some grave lineaments of the human heart.  go innocently.
534
正片
马丁·弗罗斯特的内心生活