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海底大揭秘：二战船舰
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于凤翔
回复 :两年前的年夜饭因为大慈和远征之间的矛盾最终闹得不欢而散。自此以后，远征消失了。大慈的妻子小曼从那以后再也没有回过家。时间一晃已经到了2004年的秋天，二年终于等到了远在希腊的远征的电话。二年决定利用这个机会把大慈和远征之间的矛盾化解开，团团圆圆的吃顿年夜饭。但事情并不像二年想的那么简单。大慈对于远征的归来非但没有惊喜反而一肚子气。小夜认为远征回来肯定是衣锦还乡，为了不想在远征面前丢面子，小夜心生一计终于让大慈主动承担起了年夜饭的主办权。二年喜出望外，但同时觉得事有蹊跷。果不其然，小夜和大慈商定今年年夜饭的主题就是一个字“贵”！二年听着两人关于年夜饭的安排哭不得笑不得。而小夜和二年也因为观念上的差异终日吵个不停。年夜饭的前奏终于敲响了……
回复 :James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?
加藤英美里
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