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«金球奖预测 - 让我们做吧!|主要|Best International Feature: France, Denmark & Russia's contenders »
Saturday
十二月 07 2019

动画片竞争者:“我失去了我的身体”

byTim

我失去了我的身体, the first animated film to win the top prize at the Cannes International Critics's Week, is nothing if not distinctive. The "I" of the title is a sapient severed hand, which spends the length of the feature skittering around on its fingers, looking for the human to whom it used to be attached; this is a journey that is by turns bittersweet, sentimental, and horrifying. Director Jérémy Clapin, making his feature debut (he was also responsible for the celebrated 2008 shortSkhizein),花了几年时间sheperding这个项目开始存在,而且它有一个激情的项目,一个奇怪的,其色调变化和喜怒无常的情感诉求是极其认真的明确无误的感觉。虽然它可能不是2019年最佳动画,这是肯定是最无与伦比的自信。

的膜,从Laurant的小说适于通过Clapin和纪尧姆Laurant快乐手(his other film credits includeAmélie, and the echoes of that story ring very loudly here), divides itself into two strands. One is about that hand, deftly making its way through the all the dangers that reside six inches above the ground in Paris. The other is a quasi-romantic drama about a lost soul, twentysomething sad sack Naoufel (Hakim Faris)...

尽管他已经two hands when we first meet him, it's not very hard to guess where this is heading, given that the first image of the movie is of Naoufel's blood-spattered face, and within the opening minutes, the hand has had gauzy, black-and-white flashbacks of Naoufel as a child. Even so, the twin stories don't really comment on each other in any sustained way. The hand's journey is a marvelous adventure, starting from its hushed, horror movie opening, in which the hand scrambles its way out of a refrigerator packed full of bits and pieces of human bodies, including a most ominous mound of eyeballs. Naoufel's story is perfectly… fine.

He's on his own in the world, working as a pizza delivery boy, a job which he performs with extremely limited skill. It's in this capacity that he ends up on the receiving end of an irritated voice (Victoire Du Bois) on an intercom one rainy night: he has arrived 40 minutes late with a hopelessly mangled pizza. Despite this, she takes pity on his on his haplessness, and chats with him at some length before he returns to the dark, wet night. This being the first decent human connection he's made possibly ever, he tries to track down the owner of that voice, Gabrielle, eventually taking a job working as assistant to her ailing carpenter uncle, Gigi (Patrick d'Assumçao). Here, while attempting to endear himself to Gabrielle, he spends a great deal of time around power tools with sharp edges.

的完全元人类的故事我失去了我的身体是不以任何方式新。绝望伤心男孩已秸秆讨好女人刺了几十年的电影;动画他们俩根本不会做的非常清新的事情了。这部电影是一个性格更好学习,盘旋在周围Naoufel的从人断开深情的方式,但它仍然不是很令人兴奋的。这于事无补,尽管如何在静止图像投射到电影看起来,与棱角分明的线条定义它的人类角色的面孔,在电影动画运动是有点僵硬和无机。这部电影的制作涉及到计算机上以3D动画的一切,并在字符,那么手工绘画(动画卡通博客酿造有着非凡的系列视频演示过程),但不同于大多数计算机动画,默认为每秒24帧,Clapin有他以每秒12帧的大部分工作的艺术家团队,以更好地唤起传统动画的外观。这是一个好冲动,但在实践中,使人物看起来生涩略有机器人,搭建观众与故事的情感之间的墙。

当电影被集中在手,不过,这是惊人的。所有这一切都使人类动画同样的事情,略显不悦是一个更加适合手,即使在不刻意讨好的恐怖电影影像的瞬间固有怪诞的“性格”。这必然是不可思议的,和电影制片人强调的是质量通过运动以及通过巧妙的“演戏”的手呢,因为它观察周围的世界。也就是说hand's眼视图方法也意味着该膜可呈现一些令人吃惊的,狡猾的角度,使任何位置似乎令人惊叹的inspringly大和详细描述的,或dangeously压倒。这是一个了不起的动画的使用,给我们一个大胆而idionsyncratic角度来看,涵盖几乎所有可用的情感。

Perhaps even more than any aspect of its visual technique, the film benefits from its score by composer Dan Levy. The film's music is heavy on synthesizers, creating an even dreamier, more otherworldly mood than the imagery has already done, exaggerating the touches of horror and the beautiful spectacle as well. It's a perfect fit for a film that, whatever its flaws, creates one of the most idiosyncratic new worlds of any animated film of the year.

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Reader Comments (2)

Move along. Nothing to see here.

2019年12月7日|Unregistered CommenterVolvagia

How did the hand see? Why did the hand need to sleep? So many questions!
M

2019年12月7日|Unregistered CommenterGlenn Dunks

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