播放地址

剧照

大地的女儿1991 剧照 NO.1 大地的女儿1991 剧照 NO.2 大地的女儿1991 剧照 NO.3 大地的女儿1991 剧照 NO.4 大地的女儿1991 剧照 NO.5
更新时间:2023-09-16 18:24

详细剧情

"Daughters of the Dust" tells the story of a family of African-Americans who have lived for many years on a Southern offshore island, and of how they come together one day in 1902 to celebrate their ancestors before some of them leave for the North. The film is narrated by an unborn child, and ancestors already dead also seem to be as present as the living.

长篇影评

1 ) 泥土从手中滑落

#BFI #Sight and Sound Greatest Films of All Time 2022 故事完成度很高,视听呈现的诗意风格也高度统一,整部电影以打破时间界限讲述发生在这片土地上的故事。开始看觉得会是一个关于“土地”的故事,开场就是一个航拍搭配搭配独白,像极了《我是古巴》的开场,随后又感觉是种族,是女性,是信仰,是家庭,最后发现还是把一切回归到了人,回归到了根。

视觉上,由于涉及到过去现在和未来,影片大量采用抽帧的处理方式,时不时还会搭配升降格,让整部电影的神秘色彩非常强,缓慢的推拉焦使用的也比较频繁,用于体现角色内心状态,构图上也会帮助叙事,比如特写的人物处于画面边缘也很好的利用画面讲故事。光影上在结尾的处理印象很深,大量的光线介入让画面神圣感比较强。当然整部影片给我印象最深的仍是那几处画面的呈现,水面站人那场戏,利用反射把人物,木像和周围景色完全融为一体,呈现出一幅油画般质感的绝美画面。沙滩伞下的戏,也是很好的利用构图呈现出破伞之下的三人那独特的魅力。

听觉上,想起了去年看的《女人们的谈话》,不知道是否对这部作品有借鉴,采用了完全相同的叙事模式,借用“未来人”的画外音结合“现在”的讲述者的台词让故事叙述者与故事之间的关联性变得模糊,从而让影片的宿命感更强,整体还是比较喜欢这样的呈现,结合视觉上的抽帧和故事上的非线性叙事让影片整体风格统一度很高。

角色上,其实很难像到如此众多的角色呈现还能做到每个角色都带有极强的力量。尤其是结尾时把一切回归后,在与开场呼应让影片达到了一个非常完美的闭环。

不喜欢的点,首先是视觉上大量的使用浅焦镜头,虽然在大多数时候对与焦段的把握都可以让观众非常好的把注意力集中,但是几次虚焦或焦点在错误的位置还是让观众从整体的诗意中抽离了出来。其次是配乐的使用,大量的民族乐器让影片整体感觉都非常厚重,但是有时候偏流行甚至带有一些中国民族风格的配乐还是让我不会出戏。

2 ) [Film Review] Daughters of the Dust (1991) 7.1/10

“This must be the most desolate place on earth.” is uttered in this ethnographic trailblazer from Julie Dash, and the said place is Igbo Landing, on St. Simons Island off the Georgia coast, where lives Gullah islanders, an African-American people distinctively preserves its African traditions and origins.

The story of DAUGHTERS OF THE DUST takes place in the turn of the 20th century, and pivots around the Peazant Clan when the family is facing an impending separation as most of them decide to pursue a new, modern life northward in the mainland, whereas the elderly matriarch Nana (Cora Lee Day), refuses to leave the island where she is born and raised. Weaving its non-linear narrative with a voice-over of the unborn child (Warren), whose dubious parentage is a scathing testimony of Gullah people’s sufferance to the injustice and oppression (although they are not explictly presented here), strewing flashback, spectacular shots of its unique topography, myths (water-walking), rituals (baptism) and supernaturalism (a young girl’s ghost or a surreal shot in the graveyard) intermittently along the way, yet, on a less favorable note, its banally synthesized accidental music (save for some tribal rhythm) fails to leaven the narrative as the icing on the cake, often irritatingly takes us away from its spatio-temporal environs.

It is a shade daunting for a first-time viewer to suss the whole picture of who is who and their familial relations immediately, but it is rewardingly the women’s voices are predominantly heard through a handful of strong characters.Cora Lee Day’s Nana, an obstinate heathen refuses to evangelism but cleaves to memories and mementos of the past in her own superstitious mindset, is a stunning exemplar of what energy and impact those underemployed dark-skinned thespians can generate if they are granted a platform, she is electrifying as the old guard battling mortality and being forgotten, subsists a wisp of spiritual tenacity that becomes her lifeline.Barbarao plays Yellow Mary, one of Nana’s many granddaughters, the black sheep practicing the oldest profession, returns for the last supper with her same-sex lover Trula (Hoosier), is at loggerheads with Haagar (Moore), Nana’s intractable granddaughter-in-law, who aims to sever her family entirely from the backwater, represents the aggressive side of the polarity. Finally, Alva Rogers as Eula, mother of the unborn child and wife of Nana’s great grandson Eli (Anderson), staggeringly performs a quasi-possessed plea of understanding and unification in the climax, conjuring up a most theatrical moment in this otherwise self-reflective, desultory essay honoring Gullah culture and underlining the inexorable generational shift and a muted understanding thereof.

An oddity disinterred from oblivion, and forever enshrinedas the first feature film directed by an African-American woman distributed theatrically in the United States, Dash's ethereal debut enters that year's Sundance and is recognized for its otherworldly cinematography, but its groundbreaking genesis doesn’t parlay into a successive big screen career for Dash, who is relegated to small screen works mostly and his second theatrical film FUNNY VALENTINES arrives in 1999, and that’s it, does she deserve another chance? For shizzle!

短评

#BFI #Sight and Sound Greatest Films of All Time 2022 长评 - 泥土从手中滑落。故事完成度很高,视听呈现的诗意风格也高度统一,整部电影以打破时间界限讲述发生在这片土地上的故事。开始感觉是“土地”的故事,随后又感觉是种族,是女性,是信仰,是家庭,最后发现还是把一切回归到了人,回归到了根。影片大量采用抽帧的处理方式,时不时还会搭配升降格,让整部电影的神秘色彩非常强,缓慢的推拉焦使用的也比较频繁,构图上也会帮助叙事。独白想起了去年看的《女人们的谈话》,采用了完全相同的叙事模式,借用“未来人”的画外音结合“现在”的讲述者的台词让故事叙述者与故事之间的关联性变得模糊,从而让影片的宿命感更强。不喜欢的点,浅焦的焦距掌握和不契合风格的配乐。

9分钟前
  • 推荐

累死我了

13分钟前
  • Haowen
  • 还行

【Smith FLS】这是我看过的最不知所云的电影之一。

15分钟前
  • Heidyroyal Tea
  • 较差

外国人怎么这么喜欢呢

16分钟前
  • Leave no trace
  • 还行

与主流断裂的视听,每个人似乎都直接向观众讲述,混合了剧场和仪式。虽然常有惊人的镜头,但也常常滑入自赏的陷阱。

17分钟前
  • Lies and lies
  • 还行

太想电影院了 和哩哩一起来Arsenal 放映员说了一句welcome back大家就幸福感动鼓起了掌配合口哨鸡叫(咋回事 母系社会 大家精神境界 修养品德都好棒 常常被音乐吓到…

19分钟前
  • 咯咯精
  • 推荐

好 无 聊。

21分钟前
  • 麥爾斯
  • 还行

没想到视与听百佳新进榜的影片是部充满诗意带些神秘色彩的民俗文化电影

24分钟前
  • Anne Shirley
  • 推荐

听不懂!>.<

25分钟前
  • Doi
  • 还行

Too lyrical

26分钟前
  • apos
  • 还行

@Film Forum.

27分钟前
  • 介意
  • 还行

更多是对文化、宗教的猎奇向,作为电影乏善可陈。剪辑过于跳脱,可能也是由于没有一个完整的故事线,完全是拼贴式凑时长,以至于不时出现音乐MV式的段落,意义不明,作用也不明,别提什么情绪的流动,这里只有煎熬。以及一众演员,演技非常糟糕,应该说是没演技,扑克脸搭配1分钟短视频集锦倒是一种合理搭配。

31分钟前
  • 有心打扰
  • 较差

是我能力所不及。。。。

33分钟前
  • 山人阿苍苍
  • 很差

在最近的各种太过熟悉的电影语言中这部简直超超超refreshing!! 从摄影到剪辑到整部电影都流露出一种独特的原创性和真挚感。根本不用看懂啊这种电影,只要轻松愉快地看过体验过情绪就对了,理解了为何它会在我们的毕业考片单里。

34分钟前
  • 推荐

部分单场戏单独截出来值五星

37分钟前
  • 顗礼
  • 还行

眼前一亮很美!整体感觉竟然像是一部关于对旧地之眷恋的王家卫式的音乐影像(尤其像东邪西毒)大量的升格镜头运用、空风景云动镜头、叙述的极度弱化、大迁徙前最后一天的那种情绪和状态。片子关注了非洲传统和基督教信仰之间的争执和选择 其中大黄伞和水中的黑人图腾木雕最有意思 和返乡的基督徒与摄影术构成了全片的中心张力。海滩的众多画面都极其诗意舞蹈游戏歌唱合影 最后的晚餐食物丰盛大蟹大虾(实在让人担忧去了大陆之后的饮食降级)indigo农场的印染技艺家中墙壁上的涂鸦奶奶辈的非洲记忆。另外女儿带回来的浅肤色女子和最后留下的少女喜欢的切罗基土著都给片子增加了很多分量。万花筒和插入的纪录影像都在暗示着一个与他们所想象的基督世界很不一样的现代社会。留下和离开 这种最后的诗意选择将在全球资本的语境下丧失意义/语言难懂

38分钟前
  • sirius_flower
  • 力荐

重看@arsenal berlin w/草草 近六个月后重返电影院,多了额外的感动。意识流的影像极富生命力,对于特殊部族日常生活和女性姿态的刻画细腻而摇曳。但音乐和音效就很离谱,接受不能。

39分钟前
  • Lycidas
  • 推荐

Bygone Culture。丰富民族志元素:宗教习俗,发型服饰和食物,恋物迷信,关联着岛民的身体感受和历史记忆。Dash其实用缓慢的镜头和画外音,做到了类似T. Minh-ha Trinh《重组》的表达,让观众不至于只是消费信息的被动者(但比学者Trinh平易近人多了)。相比Gullah海岛母系宗族以Nana为代表的迷物传统,Aunt Viola的基督教和摄影师Mr Snead的记录代表另一种外界“知识”;Yellow Marry开导遭白人强暴的Eula,讲述她得不到粉色音乐盒的经历,教会后者把记忆和伤痛(历史)“放进”物件里,这样可以不断去触碰过去,感受自己的灵魂。启发了Eula后续的震撼演讲。旁白由Nana和Eula未出生小孩交替讲述,可能想说,我们总能从“历史”里看到“未来”。

41分钟前
  • coie
  • 推荐

3.5。(NFT2)

43分钟前
  • 三十
  • 还行

47分钟前
  • 战将波舰金
  • 力荐

返回首页返回顶部

Copyright © 2023 All Rights Reserved

Baidu
map