http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub
　　“The end of paradise on earth.”—Jean-Marie Straub
　　The 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.
　　“O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.
　　In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.
　　So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.
　　During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.
　　The mise en scène of what words exactly?
　　The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.
　　Is “Straubie” Greece?
　　This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich

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O somma luce HD中字

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分类：剧情片 法国 2010

导演：让-马里·斯特劳布   

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片名：O somma luce

关键词：O somma luce免费在线观看

电影类别:剧情片

发行年份：2010

首映地区：法国

导演：让-马里·斯特劳布

演员：Giorgio Passerone

更新时间：2024-04-22 03:29

《O somma luce》讲述的是什么故事？

《O somma luce》是一部剧情片电影，由导演：让-马里·斯特劳布执导，主演：Giorgio Passerone，

　　转自：http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub
　　“The end of paradise on earth.”—Jean-Marie Straub
　　The 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.
　　“O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.
　　In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.
　　So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.
　　During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.
　　The mise en scène of what words exactly?
　　The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.
　　Is “Straubie” Greece?
　　This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich

电影《O somma luce》有哪些硬核特效？对此你作何评价？

由Giorgio Passerone主演的剧情片《O somma luce》迎来播放，这部电影有趣的背景设定通过各种元素来展现，通过《O somma luce》上映的预告以及海报，我们可以看到这部电影通过超震撼的特效来制霸影视，一场热血激荡的未来之战为我们展现未来科技，这部剧情片作品通过强大的幕后制作团队，为我们打造一部剧情片的巨作。

《O somma luce》上映火爆，这部剧反映了怎样的重要意义？

这部电影是剧情片，电影中的场景是采用棚内搭建的形式，导演： 让-马里·斯特劳布利用逼真的道具设置和后期特效给观众一个惊艳震撼的视觉效果，在这么一个启发人深思的故事来表现电影的精神内核，展示了电影高深的立意。

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