西班牙记录片《阿拉亚》超清线路
阿拉亚剧情简介
《阿拉(🔨)亚》是委内瑞拉(📒)传奇女导演玛(mǎ )戈(gē )·贝纳(🕸)塞拉芙唯一一部(bù )纪录长片(piàn )，它(🐉)在(zài )拉美(🍖)影史(🏴)上占有相当重(chóng )要(📿)的(de )位置，是委内瑞拉民(📼)主后(hòu )第(dì )一部获得(dé )国(guó )(👑)际声(shēng )誉(🗄)的电影，当年在(zài )嘎纳(🔲)它(tā )与阿(🚉)伦·雷奈的《广(guǎng )岛之恋》共同分(🙁)享了国际评论家奖，也(yě )都(🤷)获金棕榈提名(míng )却最终未(🥁)果，尽管名气不如《广(guǎng )岛之(🌑)恋》和《黑人奥菲尔》那么大，但在专业人士眼中此(💪)片一直都是(shì )研究(jiū )(🥫)拉(lā )美(👃)女性电影(🤲)所必修的经典，影片出色的摄(shè )(🧟)影时(shí )(🧣)常(cháng )被人们所(👣)赞美，是与卡(kǎ )拉托佐夫(🍑)的《我是古(🐾)巴(🦇)》齐(qí )(🈸)名(míng )的(🏻)诗意电(diàn )影杰作，法(fǎ )(🃏)国著名导演(💹)让·(🐩)雷诺(😝)阿在看过影片后称赞《阿拉亚》是他所见过最完美(měi )的纪录片之一。贝纳塞(sāi )(🔎)拉(lā )芙就像是委内瑞拉影(yǐng )(🔥)坛(tán )的(🌸)特吕(lǚ )弗和亨利(🍁)·朗(👛)格(🕕)鲁瓦(wǎ )，她不仅(🍺)是第(dì )一(yī )位毕业于巴(💅)黎电影学院（IDHEC）的(de )(🏸)拉(lā )美导演(⏺)，而(🔮)且在(zài )1966年(🌲)创(chuàng )办了委(wěi )(🐌)内瑞(🖱)拉电影(yǐng )资料馆，虽然(rán )由于(yú )资金短缺问(wèn )题，她(tā )个人的导演生涯并不顺利，作(zuò )品(pǐn )也(🍈)很(hěn )少(🏗)，但却为新(♟)委内瑞拉电影的(⏭)发(fā )展成立(🐑)基金会，并(bìng )(👧)曾获得(⛱)世(shì )界各国的(de )无(wú )数荣誉和勋章。 转自AUESS的博(❗)客资料(liào )（http://blog.sina.com.cn/s/blog_497f6a250100cxm0.html） Shown at Cannes in 1959, the year after Venezuela's last dictator Marcos Perez-Jimenez was overthrown, the documentary inadvertently highlights the kind of exploitation of the poor that can lead to rebellion. While the dictator escaped to Miami with $13 million, salt workers were piling up mounds of salt on the flat sands, making barely enough money to keep them in arepas and black beans. Between the hot, tropical climate and the sores on their feet, the job these workers do every day is excruciating. Yet the lives of the fishermen and salt workers in this documentary are shown in the context of planned, upscale development, something of a disservice to the larger picture. With not much making a great impression thus far at the Berlinale, Margot Benacerraf's lovely documentary Araya comes as a breath of fresh air from 1959. Reminiscent of Agnes Varda's debut film La Pointe-courte (1954) in its artful but somewhat ambivilant attitude towards filming a local community and their work clearly admired by the filmmakers, Benacerraf's film focuses on the inhabitants of Araya, a desolate area in Venezuela subsiding through a long history on the wealth of its great salt marshes. Araya was originally compared to Flaherty's Man of Aran, Visconti's La Terra Trema (1947) and Rossellini's India (1957). Margot Benacerraf has described the film as "a cinematic narration based on script writing rather than a spontaneous action, a feature documentary, the opposite of Italian neorealism".
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