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Friday
Apr 22 2016

凡人都有得意日:Inarritu, 16年和2 Directing Oscars Later

Eric here to discuss cinema’s currently-most-celebrated director, Alejandro Gonzalez Inarritu.As Nathaniel has noted previously, all six of Inarritu’s feature films have gotten Oscar attention in one way or another, and of course much has been written about his being the first filmmaker since 1950 to win the Best Director Oscar two years in a row.He's also just been named tothe Time 100 "Icons" List。So there’s no better time than to look back to Inarritu’s first feature, 2000’s爱情是狗娘, to see where he started and where he’s landed.

Watching爱情是狗娘(2000) for the first time since its initial release, I was struck by how even at the start of his career, Inarritu picked extraordinarily difficult environments to shoot in.The logistics for Amores Perros can’t have practically been much easier than the ones we are all sick of hearing about with The Revenant.His debut feature has him shooting all over Mexico City (inarguably one of the world’s most chaotic cities), with a colossally large group of actors, and constructing a large-scale and crucially precise car wreck sequence that pays off to all three of the film’s narratives in different ways.Plus throw in a lot of very difficult (and legally tricky) scenes with huge groups of dogs fighting, bleeding, and getting shot.Inarritu’s self-masochism was alive and well from the very start.[More...]

This debut feature also clocks in at over two and a half hours, and the script has Inarritu juggling temporal shifts and shifting POVs continuously.The film is split into three chapters, the first covering two brothers pushing dark fates;the second centering on a wealthy man who leaves his family to be with his hot model mistress;and the third about a revolutionary seeking redemption.Contrary to Emmanuel Lubezki’s ravishing cinematograpy in the Leo epic, Amores Perros is shot in a grainy and immediate style, with the camera pushing uncomfortably close into the actors’ faces.There is nothing “beautiful” in this first film, but I’d argue that Amores Perros comes closer to cinematic poetry than Inarritu’s most recent effort.

The poetry Inarritu achieves here, a gritty urban dance across economic lines, neighborhood borders, and lost loyalties, comes straight from Inarritu’s humanity.In Amores Perros, Inarritu makes it clear that the human desire to want more or to want something else…and the fallout that comes with it…crosses all boundaries.He feels for all of these characters, and in their fates creates a tragicomedy of sorts.Inarritu recognizes the classicism in the script (time and choices play out in Shakespearean-like ways) yet the multiple endings don’t feel too clunky or overly neat.Certainly the middle story, where the wayward husband ends up with his beautiful model minus one of her gorgeous legs, is one of the more darkly comic twists on the fantasy of every man in midlife crisis.这结束,因为他们两个人被困在他们计划为他们的完美生活在一起的完美的公寓,是萨特的右出。


Several of Inarritu’s greatest strengths as a director are already present here.First is his love of actors: you can feel his love for them in those tight close-ups.他变得非常复杂的工作的演员(especially a young Gael Garcia Bernal), a trait he has only refined and improved upon, reaching its zenith in both the individual and collective ensemble work he got from everyone in鸟人。And Inarritu’s artful collaboration with his key creative staff is evident, too: the art direction and camerawork in Amores Perros captures subtle details that establish the brothers’ home, the dogfighting world, and the upper-middle-class milieu…we see several Mexico Citys in this film, which of course is the truth of that city.

大部分在伊纳里多征收至今的批评是他生活的过于严峻awfulization,我想这是真的,没有人会指责他用轻手指挥的。但是我认为,他的每一个亮相的电影和他在他们最新的-21克,巴贝尔,BIUTIFUL,和鸟人,有伟大的电影。有时更沉重的元素变得霸道,但是这是巨大的创意总监了结和不怕落在他的脸上。这是主题的纯粹的风险,它的诚实的探索,已建立伊纳里多为世界上最大的电影制片人之一。

Therefore, nobody should have been happier than I to see him win his second Oscar this year, but I think he won fordirecting rather than最好。This seems even more true rewatching爱情是狗娘: yes some of it is messy, but I’d say gloriously messy, and it’s a relief to watch Inarritu shoot a movie where not every single shot is constructed within an inch of itself as he did in该亡魂。With该亡魂, every shot is so damn beautiful that almost none of them are actually memorable.I fear Inarritu is becoming overly studied.

Even sadder is that all of his first five messy movies were about complex characters and gigantic global themes, purveyed through a bleeding passionate heart…whereas该亡魂had a single-focused hero foisted into a story without much moral complexity.Nobody can claim the director is going “backwards” since the technical filmmaking of该亡魂, with several of the greatest craftsmen in the industry working at the peak of their ability, is beyond reproach.But outside of the technical achievements, Inarritu hasn't moved forward with this last film, either, as it’s far less ideologically complex than鸟人

这是不可能的,伊纳里多永远不会放弃自己的需要拍摄后勤精心制作电影,我们不希望他来,因为他的电影的快乐来自于他在这些情况下的精湛技艺。但是,也许下一次了,他会记得他早年如何被有时少整齐最终是更漂亮。

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Reader Comments (7)

I don't hate The Revenant as much as most people do on the web, I actually dug parts of it, but I have to agree it was filmed too beautifully for its own good and his direction was a bit much at times.Inarritu's buggiest problem is he doesn't know how to show restraint.

April 22, 2016 | Unregistered CommenterHmm

Biggest*

April 22, 2016 | Unregistered CommenterHmm

“he logistics for Amores Perros can’t have practically been much easier than the ones we are all sick of hearing about with The Revenant. His debut feature has him shooting all over Mexico City (inarguably one of the world’s most chaotic cities)...."

Third world cities are not the total mess you imply they are.Of course shooting six feet under snow is more complicated.A lot more complicated...

The rest of the article is great though

April 22, 2016 | Unregistered CommenterDILMA

Third world city?Have you ever been to Mexico Dilma?

April 23, 2016 | Unregistered CommenterMe

So much greatness in literally all of his films, so many scenes that have stuck with me;Naomi Watts listening to the answerphone message over and over, the club scene in Babel etc etc, and yet, none of his films have ever quite added up to the sum of their parts for me.Agree with the comment about his direction being very heavy handed.鸟人 is probably the only film of his I could see myself watching a second time.

April 23, 2016 | Unregistered CommenterJB

ME:

Yes.As a tourist, but yes.

What's your point?

April 23, 2016 | Unregistered CommenterDILMA

Random question: when listed in alphabetical order by surname, would Alejandro be listed BEFORE or AFTER (say) Haigh, Andrew?(Apologies for any cultural ignorance on my part.)

April 23, 2016 | Unregistered CommenterTravis C

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