Opéra mouffe, L'

A bit overshadowed by the works of male filmmakers of the late 1950s and early Sixties in France –as Godard, Chabrol, Truffaut and Resnais-, that helped to found the "nouvelle vague", Varda is nevertheless known as the "grandmother" of this film movement, with her praised first feature "La pointe-courte" (1956) and this beautiful short made in Paris while she was pregnant, a homage to the Mouffetard street in Paris and its people, to love, life and old age, which she defined as "neighborhood cinéma." A fresh and free-form exercise of images, songs and intertitles, it confirmed the promise of a talented and innovative director, who went on to make more remarkable films as "Cléo de 5 à 7" (1961), "Sans toit ni loi" (1985), and, at 72, "Les glaneurs et la glaneuse."

自从1958年的短片<幕府歌剧>(L’Opera-Mouffe)开始,瓦伊达就已经逐渐发展出了不仅要展现客观世界的视觉与听觉表象更要传达出个体对客观世界的主观感受,用身体,头脑和心去品味出来的主观感受的美学大前提.这引导她将客观裁减成一张张大小形状均有不同的素材,然后用一种非常现代派的方式将其细心编制成格调高雅的波斯挂毯.而且在完成<幕府歌剧>这样一副从怀孕妇女的滤光眼镜里透视巴黎的美丽拼缀画后,瓦伊达在自己职业生涯的开端就已经清楚地告诉了我们电影艺术和观念上存在的性别差异,即男人和女人要用同样的视角去观察和体验这个世界是一件几乎不可能的事.

4444(创建者)