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Sep 24 2021

周末 @ 10:现代同性恋经典


十年前,安德鲁·海格(Andrew Haigh)Weekend经历了国际电影节的长期旅行之后,在美国剧院开业。导演的第二篇作品将他的名字放在地图上,并打开了一条艺术道路,将带给我们珍贵的电影宝石45 Years依靠皮特, as well as the televisual delights of看着。以这种方式使工作的背景使其看起来比现在更小,这是同性恋城市人生活的微型以及从休闲性的夜晚开花的情感联系。尽管他所有项目的范围有限,但海格从那以后所做的一切Weekend感觉更大,更明显。然而,十年后,那个英国的小独立独立仍然是导演最杰出的成就……

看着Weekendas a 27-year-old is very different than watching it as a teenager. Once upon a time, I felt as if Haigh's picture opened a magical window into life experiences I had yet to go through. It felt natural, vibrating with the genuine power of observational details and behavioral insights. Nevertheless, it was somehow distant too. Revisiting the work, a decade after the fact, there's little innocent wonderment left, nor is there that particular awe of the curious teenaged mind in how I look atWeekend。但是,距离的概念持续存在,变为不同的形状。像以往一样,这部电影没有改变。取而代之的是,我已经长大了,经历了使我欣赏这部电影作为无法言喻的真理的结晶的事件,而不是秘密的瞥见。

Before, it was vaguely aspirational, even though Haigh and company offer little in the ways of dreamy idealization, lacing every sweet kiss with bitter sorrow. Now, the movie feels more candid, valuable for how it captures intimacy on film with an ease that's uncommon, unvarnished, but not unerotic. In some ways, the very intimacy implies a shared vulnerability that bears a promise of privacy, if not secrecy. Such characteristics make its capture on-screen a paradoxical conundrum. How can any facsimile of intimacy appear actual when the very presence of the camera, the audience's probing eye, molds what we see into a public pantomime? Film intimacy should never feel real, but sometimes, as if by miracle, it does. InWeekend,它燃烧。

通过结构意识的棱镜来检查电影,人们发现障碍的障碍更多的障碍是达到了达到的亲密关系。这个故事对陈词滥调很简单,建立在形成鲜明对比的人物的冲突之上,这些人物可能使虚构的人变成原型力量。一方面,我们有罗素(Russell),诺丁汉纳斯特(Notinghamian Nester)。他不一定为自己的性行为感到羞耻,尽管他更喜欢通过不被忽视,不受欢迎,包括他最亲密的朋友。在他对面,有一个外向的艺术类型的格伦(Glen)填补了罗素(Russell)的沉默,并充满了性的潮湿声音和一个男人在任务中的探测。沉默是一个等待填充,穿透的洞,可能会得出结论。在这种情况下,沉默的家伙肯定是开放的,可以让他安静的宇宙散发出一些响亮的声音。


摄像机通常感觉像是公共场所内的一个残酷追捕者,不足以围绕着物体,人们,检查中心对。在点,它让人想起了肯·洛奇(Ken Loach)的凯斯(Ken)肯特(Ken Loach)的长途悠久的街道镜头。在其他时候,整个努力的无艺术性传达出一种令人震惊的侵入感,例如当我们在火车上找到罗素和格伦时,分享了闷闷不乐的话,我们几乎听不到,而一堵墙的身体不断陷入困境。Mumblecore扭曲成幽闭恐惧症可能是这种方法的描述。我们从来没有进入这对夫妇的泡沫,这使得该行为的理由是。他们的第一次接触的瞬间并没有通过一些优美的主观电影制作而经历。

取而代之的是,我们从角度目睹了它,相反的外观摄像机努力通过反射和聚焦转移来查看。海格的迷人Weekendis incredibly close to its characters, but they keep getting away. Slipping through the cracks, the men move with the eagerness to go live their lives outside the limits of the letterboxed screen. At home, the camera's closer, as one would expect, but the actors seem aware of its bothersome materiality in the cramped spaces of a small apartment. Entire scenes are played with backs facing the camera. Significant interactions are lost to us by virtue of their voyeuristic limitations. As Russell, Tom Cullen often looks away from the lens, telegraphing an idea of closed-off domesticity by suggesting that such sanctity is being violated.

In the role Glen, Chris New feels similarly reluctant to play for the camera, but there's a peacocking delight running underneath. In his hands, such qualities confer a whisper of crumbling theatricality to the artist's performative honesty, giving an edge to the material. These approaches are not set in stone to the actors' credit, varying through the few days of the narrative. Their first shared scenes rumble with that strange openness that can sometimes blossom between strangers when the guarantee of social inconsequence serves as a liberating agent. When deeper emotions start to get in the way, we sense walls erecting in front of each tender man. The desire for meaningful connection is thus played by foregrounding the buzz of anxiety, the shields we hold in hopes of sparing our hearts.

全世界都是一个舞台,所有的男人和女人都只是球员 - 这比我们考虑和谈判与我们与他人联系在一起的纽带并进行谈判时更为明显。Weekendgoes further, though, capturing the ruination of those actorly walls. In the weekend-long proto-romance of Russell and Glen, we witness the cyclical return to the raw confidentiality shared by naked men in beds made with sweaty, cum-stained, sheets. What they had might not last more than those erstwhile days. It might all be over with a stolen kiss on a train platform. Nonetheless, the ephemeralness of those treasures doesn't have to rob them of meaning, of beauty. If anything, they're more precious this way. Haigh has devised a calcinating variation of cinematic intimacy by avoiding a lusher subjectivity. HisWeekend是一个奇迹,总是从远处看,在篱笆后面,如此近,但到目前为止。






September 24, 2021 |Registered Commenterfadhil



September 24, 2021 |Registered Commenter乔·G。


September 24, 2021 |Registered CommenterBang Ditto


September 24, 2021 |Registered Commenterthevoid99

"Weekend" has become an all-time favorite of mine. I've watched it dozens of times and still gets me. Sad that Chris New didn't break out of this film the way Tom Cullen sort of did, and it seems that New is now stepping away from acting altogether.

安德鲁·海格(Andrew Haigh)也已成为非常强大的导演。自“周末”以来,我对他所做的任何事情都没有感到失望。

September 24, 2021 |Registered Commenter劳尔

"Weekend" has become an all-time favorite of mine. I've watched it dozens of times and still gets me. Sad that Chris New didn't break out of this film the way Tom Cullen sort of did, and it seems that New is now stepping away from acting altogether.

安德鲁·海格(Andrew Haigh)也已成为非常强大的导演。自“周末”以来,我对他所做的任何事情都没有感到失望。

September 24, 2021 |Registered Commenter劳尔