http://www.mtime.com/my/auess  很喜欢那里的博客风格,以后我主要在那活动.

http://auess.blog.sohu.com  会同步更新

http://auess.blog.163.com   同步

希望大家继续关注,谢谢! bye

好长时间没认真写写自己的生活状态了，很感谢大家还会来关注这里，豆瓣上朋友们的留言我都看到了，有空会一一回复的。这段时间一直在学校上课，早远离了以前那种黑白颠倒的日子，虽然每天依旧很忙碌，忙到没时间看电影了，但却觉得很充实，摆脱了空虚感，想着自己每天都能比昨天懂得更多，心里很满足，和一群八七、八八、八九甚至九零后的学弟学妹们在一起，好像也年轻了几岁（虽然自己其实也不算老:P）。学校管理很严，上下课要按指纹记录，请假迟到都得扣分，尽管老师比我大不了几岁有的甚至比我还小，但都很负责，上课气氛也挺轻松幽默，感觉不错。很幸运我的成绩一直在班上排第一，这让我很惊喜，也给了我许多以前没有的信心，原来自己放弃过去去接触一个新的领域，还能学到如此地步，已经值了。学校的就业指导课也很不错，第一次发现岁月还没在我身上刻下太多记号，现在的我依然年轻，穿上职业装的感觉还是挺帅气的嚒，呵呵。:）

这半年来的学习也快要结束了，最大的收获就是认识了身边一群真正看得见摸得着的同学，他们大多是本地人，也有外地来的，还有个女生从国外刚留学回来，一水美式HH作风，挺有趣的。虽然每个人的性格喜好各异，但人都挺好的，也很容易相处。说实话，回想以前自己的生活，困守在一个人的世界里，周围没有同学和朋友的日子，也只好用电影和网络去缓解内心的孤单感。。。而现在很高兴的是我正努力走进一个正常的生活轨迹之中，一点点逐渐改变原本寂寞的生活状态，尽管与他们在思想和行为方式上有差距，但他们无忧无虑的快乐和活跃新潮的思维的确也很吸引我，而我始终觉得自己是个很特别的人，我也会用自己的一些想法和经验去和他们交流，这种与人心灵上的沟通和交流对目前的我来说才是最重要的。

而在这几个月的生活经历中，最最珍贵的是一份让我很难割舍的感情。。。

片名：每一次当...我就坠入爱河并且相信会天长地久
原名：Cada vez que...estoy enamorada creo que es para siempre
编剧：Carlos Duran & Joaquim Jorda
导演：Carlos Duran
摄影：Juan Amoros
国家：Spain
年代：1967
时长：85 mins
色彩：Black & White + Color
风格：Experimental & Avant-garde & Surreal Film
介绍：http://archive.sensesofcinema.com/contents/06/41/barcelona-school.html

典型的60年代欧洲先锋电影，现在看稍微有些怀旧感，但却不失新潮和创意，结合了戈达尔式的跳跃剪辑与威廉-克莱因的流行文化风格，推荐。上世纪60年代正值加泰罗尼亚历经现代化的时期，消费主义当然也渗透进入艺术领域。Carlos Duran的《Cada vez que...estoy enamorado creo que es para siempre》（每一次当...我就坠入爱河并且相信会天长地久）正是一部拥有强烈“流行杂志风格”的实验电影。时装模特儿在现代感强烈的高第奎尔公园（Park Guell）走秀，一旁还有摇滚乐团正在演唱美国歌曲。一般认为，巴派电影过于追求形式，缺乏深度，但是在看似恋物的表面下，嘲讽式的反省却从来不曾少过。「全球化脉络下的巴塞隆纳电影运动」

Perhaps the strongest example of fashion magazine style is Carlos Duran's Cada vez que..., which includes a sequence set in Antoni Gaudi's Park Guell. The scene is a montage, set to rock music, of various groups of pretty young people, including female models in Twiggy-like styles, a male rock group and a mixed crowd on a beach. The models strike poses in iconic parts of the park, while the band play on its main promenade, singing in English a song called "The Cover Girls Have Gone Away." This exuberant scene feels far from the experimental seriousness of the Sitges conference, and yet it, too, centres a complex network of cultural spaces.

Spanish filmmaker Carlos Duran made his feature-film debut in 1961 with La Plage/The Beach and went on to become a key figure in the "Barcelona School" of cinema. A native of Barcelona, Duran launched his professional career as an assistant director under such established filmmakers as Pierre Gaspard-Huit, Jaime Camino, and Vicente Aranda following his graduation from France's prestigious Institut des Hautes Etudes Cinematographiques. Duran's first Spanish feature was Liberxina 90 (1970), a documentary biography of Valencian singer Raimon, who during the '60s was a popular figure among resistors of Franco's regime; it was censored and barred from release. Following Franco's death, Duran became the manager of Lolafilms and accepted a commission from the Catalan Government to make a series of institutional documentaries.

下载地址：
http://www.namipan.com/d/Cada%20Vez%20Que%20(1967).rmvb/60e8ccc7fa0951b0b331e2e97e20683efca69e4e62f4f01b

片名：Triptych on the Matter and Death
摄影：Aleksandar Petkovic
剪辑：Zivojin Pavlovic
编导：Zivojin Pavlovic
年代：1960
时长：9 mins
色彩：Black & White
风格：Avant-garde & Experimental & Surreal Film
介绍：http://en.wikipedia.org/wiki/%C5%BDivojin_Pavlovi%C4%87

帕夫洛维奇是南斯拉夫黑浪潮电影的领导者，前南影坛最重要的电影大师之一，此片是他第二部作品，他早期的一些实验短片大多已经看不到了，这应该是仅存的几部之一吧，片头文字提醒观众“本片的声音部分已遗失”，所以我们能看到的只有几分钟的黑白影像。故事比较抽象，一个女人匆匆来到一座破旧的乡村楼房前，她敲着门却无人响应，当她快要绝望时最后一扇门开了，伸出的却是一把刀刺向女人的后背，受伤的女人蹒跚前行，周围死一般寂静，不远处是一辆被烧成骨架的电车，女人渐渐而亡，人群突然出现围拢在电车旁，冷眼看着地上的那具尸体。。。尽管我不想用太复杂的思维去解读这片，但有心的话还是能感觉到某些场景是有象征含意的，整体印象还不错，看得出受法国早期先锋电影的影响颇深，Man Ray和Luis Bunuel那伙人。摄影很好，毕竟是赫赫有名的前南摄影大师佩特科维奇掌镜啊。。。

Zivojin Pavlovic - Writer and film director. Born in Sabac on April 15th, 1933. At the age of 19, he began writing about film and art for Belgrade newspapers and magazines. He graduated in painting from the Academy of Applied Arts in Belgrade. At the age of 25, he directed his first amateur movie LJUBA POPOVIC in 1958. Three years later, he finished his first professional movie ZIVE VODE (Living Water) from the omnibus KAPI, VODE, RATNICI (Drops, Water, Warriors, 1962). For this film Pavlovic received the first of his many awards (a Special Jury Prize from the Pula Film Festival). At 33, he received his first international festival prize, the Film Critics Prize at the Carthaga Festival in 1965 for the film NEPRIJATLJ (The Enemy). He published his first collection of stories at the age of 30, KRIVUDAVA REKA (Winding River, 1963). His first novel LUTKE (Dolls, 1965) was published when he was 32 years old. Pavlovic won the first of numerous awards for creative writing (the Isidora Sekulic Prize) in 1967. Zivojin Pavlovic was a Professor at the Faculty of Dramatic Arts in Belgrade.

Some of Zivojin Pavlovic's awarded films are: NEPRIJATELJ (The Enemy, 1965) Golden Mask of International Young Critics at the First Mediterranean Film Festival in Carthage, BUDJENJE PACOVA (The Rats Wake Up, 1967) Silver Bear for directing at the Berlin International Film Festival and The Golden Arena at The Pula Film Festival, KAD BUDEM MRTAV I BEO (When I Am Dead and White, 1968) First prize for Best Film at the International Festival in Karlovy Vari, The Golden Arena at The Pula Film Festival and the award at The European Film Panorama in Athens on the occasion of the centennial of cinematography, Golden Medal in Avellino. ZASEDA (The Ambush, 1969) Golden Lion at The International Film festival in Venice, CRVENO KLASJE (Red Ears of Wheat, 1970) Golden Charter for a screenplay based on a literary work at the Berlin International Film Festival, HAJKA (The Chase, 1977) Grand Golden Arena at The Pula Yugoslav Film Festival, ZADAH TELA (Body Odor, 1983) Grand Golden Arena at the Pula Yugoslav Film Festival, NA PUTU ZA KATANGU (On the Road to Catanga, 1987) The Golden Gladiator, DEZERTER (Deserter, 1992) Golden Olive for the Best Film at the Festival of Mediterranean Film in Bastia, Corsica.

下载地址（175mb）：
http://www.namipan.com/d/Triptih%20O%20Materiji%20I%20Smrti%20(1960).avi/d25c6fe184a85ad627a7b58cab40626bcd9bd9680000ee0a
http://www.namipan.com/d/Triptih%20O%20Materiji%20I%20Smrti%20(1960).srt/6aad874b71cc9c873fa164636505b69bc4efaa924d010000

片名：水中的天空 + 灵舞
原名：Ceu sobre Agua + Dancas na Africa
编导：Jose Agripino de Paula
摄影：Jose Agripino de Paula
时长：27mins + 30mins
对白：None
胶片：Super 8mm
年代：1972 - 1978
风格：Experimental & Avant-garde & Film Essay
介绍：http://www.etudoverdade.com.br/2008/busca/detalhes.asp?id=7217&lng=I

这两部超八短片都拍摄于1972年，但直到6年后才得以公映，《水天空》是一部形式自由的散文诗电影，而《灵舞》用先锋手法记录下巴西女舞者Maria Esther的表演，她在最黑暗的独裁时期用自己充满想象力的身体语言表达出人民对自由的向往，却最终惨遭政府杀害，年仅38岁。Jose Agripino de Paula（1937-2007）是巴西当代作家、诗人，同时也写过戏剧、舞蹈和音乐作品，但很少有人知道他拍的几部实验电影。何塞一生为贫穷和疾病所困，在家乡Embu过着隐士般的孤独生活，没有电视、没有电话，没有收音机，也没有人能见到他。1967年他发表了小说《PanAmerica》，这部后现代主义文学杰作催生了60年代巴西最著名的地下文化运动 - Tropicalismo，《PanAmerica》中对切-格瓦拉、梦露、加里-格兰特、约翰-韦恩、安迪-沃霍、马龙-白兰度等一群政治和文化界的时代偶像所做的抽象化描绘曾经让年轻的Caetano Veloso痴迷不已，并称何塞为Tropicalia运动的精神导师。http://en.wikipedia.org/wiki/Tropicalismo

Ceu sobre Agua - A film poem that records frameworks and unexpected effects on the water and sky of Bahia. "Heaven on Water," takes to the waters of Impressionist Arembepe, shows us a pregnant woman, a child and nature. The still waters of Arembepe beach in Northeastern Brazil, an expectant woman and a child blend in with the natural open space outlined in this visual essay created by writer Jose Agrippino de Paula.

Precursor of Tropicalismo, writer and filmmaker, Jose Agrippino de Paula was a genuine representative of the counter, leaving it entirely up to the Brazilian cultural scene. He is not among the stars of Tropicalia is not often remembered when it is this movement that turned the inside of the Brazilian cultural scene of the late of 1960. But Jose Agrippino de Paula was there. In fact it was one of the first to arrive. And, unfortunately, one of the first to leave. The writer lived what could be called the peak until the following decade and then shifted the way to life, robbing him with a diagnosis of schizophrenia, the clarity and contact with the real world. Author of PanAmerica (1967), the book that illuminated the head of Caetano Veloso just before Tropicalismo, Agrippino spent much of life alone in a house in Embu, without radio, television, phone, anything that connects you to someone or to what they were. Just him, it was an antenna.

下载地址（250mb + 250mb avi）：
http://www.namipan.com/d/Ceu%20Sobre%20Agua%20(1972-78).avi/37f1e01109c75073010a79ff5cff4fc25cb578b300e0b30f
http://www.namipan.com/d/Maria%20Esther%20Dancas%20na%20Africa.avi/f9322a833a9f3cafa55af1c00703faac079881cf00a8780f

片名：Vittorio De Seta: A Retrospective 1954-1959
导演：Vittorio De Seta
类型：Documentary & Short
风格：Neorealism & Poetic Realism
色彩：Black & White + Color
时长：66 mins
对白：None
介绍：http://www.italiainternazionale.it/cinema/7_DOC_DE_SETA.htm

选自06年6月24-30号纽约现代艺术博物馆为意大利著名导演维多里奥·德赛塔（1923 - ）举办的作品回顾展，德塞塔是20世纪意大利影史上最伟大的诗意纪录片大师之一（除Franco Piavoli之外我最钟意的意大利纪录电影人），他的《奥尔高索洛的强盗》（1960）是一部混合了叙事与纪录，完全由非职业演员拍摄的新现实主义风格电影杰作。本集收录德赛塔早期的7部纪录短片，其中包括获得1955年嘎纳最佳短纪录片奖的《火之岛》，它们拍摄于意大利最具民间风情和传统文化的萨丁岛、西西里岛等地，在德赛塔诗一般的影像里，意大利独特的地中海景色和人文风俗展露无余。

Shot in Sicily, Sardinia and Calabria in the Fifties, the documentaries chronicle a lost world. They combine the strength of classical cinema with an austere and powerful expressiveness. Isole di fuoco (Island of fire, 1955), set in the Eolie islands, shows the impressive strength of the volcano. The documentary was awarded the First Prize at the Cannes Film Festival in 1955. A world where the ritual dimension is very strong, like in Lu tempu di li pisci spata (The swordfish season, 1955), on swordfish fishing "in the tepid water separating Sicily and Calabria". Hunt frenzy, worthy of Moby Dick, and the struggle between man and nature are also present in Contadini del mare (Peasants of the sea, 1955), dedicated to fishing with the tunny-fishing nets off the Sicilian coast, where men wait for tunas, which have always followed the same route: "When sea tribute appears in the net, the circle of life and death repeats". And, at sunset, when men go back ashore and children dance, solemn women carry the fishes on their head to the fish market (Pescherecci, Fishing boat, 1958 is on the same topic). The conditions of miners risking their lives in the bowels of the earth to extract the conditions of farm labourers scything and harvesting wheat in huge fields with primitive systems in Parabola d'oro (Golden parable, 1955) are not less dramatic. Then, Pasqua in Sicilia (Easter in Sicily, 1955) with its sacred folklore and the representation of the Passion of Christ. Pastori a Orgosolo (Orgosolo shepherds, 1958) and Un giorno in Barbagia (A day in Barbagia, 1958) are the two documentaries shot in Sardinia. They chronicle the isolated lives of shepherds in the very heart of Sardinia, where men live far away from their families most part of the year to pasture the flocks.

Vittorio De Seta - Born in Palermo in 1923 from an aristocratic family, he said that he "discovered" the world of the humbles during military service. He devoted to them most of his cinematographic work, undertaken after quitting the faculty of architecture. A withdrawn and shy author, for a long time underestimated by critics, he was often personally involved in film editing, photography and musical choices. After his Sicilian documentaries, in 1958 he shoots Pastori ad Orgosolo (Orgosolo shepherd) and Un giorno in Barbagia (A day in Barbagia) in Sardinia, which are at the basis of his feature film Banditi ad Orgosolo (Bandits of Orgosolo, 1961, Prize for the First Work at Venice Film Festival), a detailed in-depth analysis of an archaic civilization and its malaise. In 1966 he directed Un uomo a meta (Half a man) on the eccentricity of a politically-committed intellectual, giving rise to a lot of criticism (Moravia and Pasolini among the few defending him). After L'invitata (The invited woman, 1969), he met a resounding success in 1973 with the TV series Diario di un maestro (Diary of a schoolteacher). In 1981 he left cinema, but he was back in 1993 with the direction of In Calabria, in which he reflected again on the lost identity of the South of Italy. In 2004 he completed Lettere dal Sahara (Letters from Sahara) on an African migrant in Italy.

1> Lu tempu di li pisci spata AKA The Swordfish Season (1954, 9mins, color)

2> Isole di fuoco AKA Island of Fire (1954, 9mins, color)

3> Parabola d'oro AKA Golden Parable (1955, 9mins, color)

4> Pasqua in Sicilia AKA Easter in Sicily (1956, 9mins, b/w)

5> Contadini del mare AKA Peasants of the Sea (1956, 10mins, color)

6> Un giorno in Barbagia AKA A Day in Barbagia (1958, 9mins, color)

7> Pescherecci AKA Fishing Boat (1958, 10mins, color)

下载地址（纳米盘，800mb avi）：
http://www.namipan.com/d/411aaa31c500f161f32adc962db8103a307d8e6e06b6f606
http://www.namipan.com/d/411aaa31c500f161f32adc962db8103a307d8e6e06b6f606
http://www.namipan.com/d/08f2ad4b536efe6b4d73650c5bb9a148a9072cd71eea4c09
http://www.namipan.com/d/b151ee0a31e59c65f2f38fc301f20a8b9680b09f30e37505
http://www.namipan.com/d/98477f7937d2032d42ddb165e515b084a3b6873450923f09
http://www.namipan.com/d/943d5764449895dc6d97dcbde521516c8919000b243bd705
http://www.namipan.com/d/c85ddfd5f53f96204246c6a880f35348fc936fc27669e908
http://www.namipan.com/d/9b37e832781cd853f6bc3f2c618585d36ebca88d000a3404

片名：Dante Is Not Only Rigorous
编导：Jacinto Esteva & Joaquim Jorda
摄影：Aurelio G. Larraya
音乐：Marco Rossi
年代：1967
时长：78 mins
对白：Spanish
字幕：English Subtitles
风格：Avant-Garde & Experimental & Surrealism
介绍：http://archive.sensesofcinema.com/contents/06/41/barcelona-school.html

《但丁不只是严肃的》- 西班牙新浪潮电影巴塞罗那实验派最重要的作品之一，这个学派的东西目前能找到的很少，喜欢法国新浪潮Zanzibar团尤其是戈达尔电影的人，推荐看看这部，西班牙老电影有不少都很值得关注。<出身於安達魯西亞的布紐爾（Luis Bunuel）的殘影，依然盤旋在巴賽隆那的電影之中，代表了一種對於戰前時代藝術自由的緬懷。《但丁不只是嚴肅的》（由Jacinto Esteva和Joaquim Jorda執導）就完完整整的重現了布紐爾《安達魯之犬》中著名的「以刀片割破眼球」那一幕。除了致敬之意，他們也將這部電影史中基進電影的代表，重新放置於當代論述中加以重新詮釋，以控訴當時華美外表之下令人不忍卒睹的暴力現實。>（选自网络）

Surrealism in Barcelona. "Dante is not only rigorous" is the manifesto film of "La escuela de Barcelona" ("Barcelona's Film School"). There is no plot, the movie is just one story after another that a woman is telling to her lover, like a modern Sherezade. There's experiments with the light, the colors, the sound forwards and backwards. Stories of a time that never comes, of princes in blue, of loneliness and desire... Extremely funny, but beware! don't even try to get a meaning of this movie, just watch it and enjoy it as much as you can I could watch it during the 41th Gijón International Film Festival, as part of a retrospective about the cinema movement which was known as "Spanish New Cinema". A must see!

下载地址：
http://www.rayfile.com/zh-cn/files/5c0d8133-2268-11de-94e6-0014221b798a/

片名：愛的殉道者
音乐：Jan Klusak & Karel Mares
编剧：Ester Krumbachova
摄影：Miroslav Ondricek
剪辑：Miroslav Hajek
导演：Jan Nemec
时长：71 mins
年代：1966
对白：None
色彩：Black & White
风格：Surrealism Fantasy & Absurd Comedy
获奖：1967年瑞士洛迦诺国际电影节特别奖

三段有关爱情与背叛的幻想小故事，感兴趣的就下。分享这片主要是为满足某某同学的捷克新浪潮收集梦，虽然我自己的兴趣早已不在捷克片上了，毕竟该看的差不多都看过，该了解的也差不多都了解了，但我知道有了这个片，某些朋友的CNW收藏会更齐整一点吧。基本无对白，七日后删，其他不多说了。暂别。

A B&W surrealist triptych, inspired by dream work, a kafkaian universe and discontinuous montage. Funny and surprising. Surrealist cinema Award 1966; Special mention Locarno 1967.

Story 1: Martyrs of Love
A young shy bureaucrat dressed up in black like a Magritte model, with a melon hat and an umbrella, dreams of women legs and spends the night with a girl he met in a jazz club. Surrealist visual poem about shyness / lust for erotism / Shots of woman's legs and breasts. Homage to Rene Clair's Entr'acte. Cameo of the girls from Daisies, and participation of Lindsay Anderson.

Story 2: The Dreams of Anastasia (Erotic dream)
A girl living on a train, daydreams about erotic fantasies in a castle with aristocrats, a military wedding and a gipsy. Social and religious critique to ridiculize ceremonious protocol and discipline, perverted by veiled libido. Sexual symbols against puritan education. Pursuits in uniforms in the streets and gardens of Prague.

Story 3: The Adventures of an orphan Rudolf (A farce burelesque)
Rudolf is mistaken for Jacob by an eccentric family who celebrate his return with a champagne feast, undress him and dress him up. A girl falls in love and begs him to come back. But the house is not to be found again. Waste of money by eccentric aristocrats, house trashing, pursuit, absurd idleness of the wealthy.

下载地址：
http://www.rayfile.com/zh-cn/files/10fbeb2b-0ebb-11de-a7c7-0014221b798a/

片名：Araya
导演：Margot Benacerraf
摄影：Giuseppe Nisoli
剪辑：Pierre Jalluad
年代：1959
时长：90 mins
色彩：Black & White
获奖：59年嘎纳电影节国际影评人奖及金棕榈提名

这片是一朋友几个月前问过我的，当时我没回复他实在抱歉，不过今天终于有空可以分享一下了。《阿拉亚》是委内瑞拉传奇女导演玛戈·贝纳塞拉芙唯一一部纪录长片，它在拉美影史上占有相当重要的位置，是委内瑞拉民主后第一部获得国际声誉的电影，当年在嘎纳它与阿伦·雷奈的《广岛之恋》共同分享了国际评论家奖，也都获金棕榈提名却最终未果，尽管名气不如《广岛之恋》和《黑人奥菲尔》那么大，但在专业人士眼中此片一直都是研究拉美女性电影所必修的经典，影片出色的摄影时常被人们所赞美，是与卡拉托佐夫的《我是古巴》齐名的诗意电影杰作，法国著名导演让·雷诺阿在看过影片后称赞《阿拉亚》是他所见过最完美的纪录片之一。贝纳塞拉芙就像是委内瑞拉影坛的特吕弗和亨利·朗格鲁瓦，她不仅是第一位毕业于巴黎电影学院（IDHEC）的拉美导演，而且在1966年创办了委内瑞拉电影资料馆，虽然由于资金短缺问题，她个人的导演生涯并不顺利，作品也很少，但却为新委内瑞拉电影的发展成立基金会，并曾获得世界各国的无数荣誉和勋章。

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".

下载地址（510mb TVRIP）：
http://www.rayfile.com/zh-cn/files/d1de76a6-0b15-11de-9bb7-0014221b798a/

片名：Heraclite l'obscur
摄影：Raymond Sauvaire
剪辑：Jackie Raynal
编导：Patrick Deval
年代：1967
时长：20 mins
出品：Zanzibar Films
风格：Experimental & Avant-Garde
资料：http://archive.sensesofcinema.com/contents/books/07/44/zanzibar-films.html

帕特里克-德瓦尔是60年代末巴黎实验电影小组ZANZIBAR的创始成员，《朦胧的赫拉克利特》是他唯一存世的两部影片之一。如今提及法国电影史几乎很少有人会说到ZANZIBAR这个组织，毕竟它只是一个特殊时代的产物，仅仅存在了3年多时间就解散了，但他们残存下来的部分影片却成为难得一见的珍品，他们的影像中能看到当时处在变革中的法国青年电影人的天才和自由精神。影片在突尼斯取景，参与者还有德瓦尔的女友Jackie Raynal，是ZANZIBAR中为数不多的在异国拍摄的作品。

This is one of two surviving films by Patrick Deval, a member of Zanzibar group. Deval shot Heraclite l'obscur in Tunisia in 1967, with his then-girlfriend and editor Jackie Raynal, in 35 mm and in color. He was the first Zanzibar member to shoot a film not only outside of Paris but also on an exotic location. Heraclite l'obscur, described by its author as a "philosophical peplum", is a vision of Heraclitus that is an intriguing combination of fiction and documentary techniques that in many ways prefigures Pier Paolo Pasolini's mythological phase, not least in seeking an image of the Ancient World in today's Third World.

下载地址（250mb avi）：
http://www.rayfile.com/zh-cn/files/bc91bfb0-0af2-11de-871e-0014221b798a/

英文字幕：
http://www.rayfile.com/zh-cn/files/bdc9b5fd-0af2-11de-8172-0014221b798a/

片名：La Seine a rencontre Paris + Pour le mistral
导演：Joris Ivens
创意：Georges Sadoul & Joris Ivens
摄影：Andre Dumaitre, Philippe Brun & Pierre Lhomme
叙述：Serge Reggiani & Roger Pigaut
时长：31mins + 33mins
国家：France
年代：1957 + 1965
色彩：Black & White + Color
风格：Poetic-Realism & Naturalism & Documentary
获奖：1957年嘎纳影展最佳短片金棕榈；1957年奥伯豪森国际短片节金奖；1958年旧金山国际电影节最佳纪录片金门奖；1966年威尼斯影展圣马克金狮奖。

伊文思的东西就不用我再多说什么了吧。《塞纳河畔》（1957）和《海岸之风》（1965）是他所有诗意纪录片中的上上乘之作，其艺术水准堪比早年的杰作《雨》。《塞纳河畔》早已是人所共知的纪录佳作，而65年拍摄的《海岸之风》是伊文思首次创作有关风的题材，可以看成是他晚年那部《风的故事》的灵感来源，片中用极其精美的镜头语言记录下法国西北地中海沿岸的季风变幻无常的足迹，和风中过客的生动景象，是“一场神奇而美妙的影像之旅”。这两部短片值得所有喜欢电影的人的必看经典，分享一下快乐。

(La Seine a rencontre Paris) The first film Joris Ivens made when he returned from Eastern Europe is a film poem about Paris and Parisian life on the borders of the Seine river. The film follows the flow of the river through the city of Paris, making a portet of this city and its people living, strolling, sun-bathing, fishing, working, swimming, loving and laughing beside the Seine. The poem written by Jacques Prevert gives the film an extra dimension, and the music, with the recurring theme of a children song, gives it a melancholic touch.

(Pour le mistral) One of Joris Ivens' most poetic films is his first attempt to film the wind. With a beautiful photography, a powerful editing and a poetic commentary the film tries to make the wind visible and tangible. It starts in black and white, continues in colour and ends in cinemascope to illustrate the force of the upcoming Mistral wind that blows in the south of France. The original scenario was much more elaborate and ambitious and fits Ivens' lifelong wish to film the impossible: the wind. It was difficult to find a producer for this film, for most people were rather sceptical to finance a film with an invisible main character. Finally Claude Nedjar was willing to produce the film, which despite many financial problems was finished in 1965.

《塞纳河畔》下载地址（360mb avi）：
http://www.rayfile.com/zh-cn/files/0afbe835-0609-11de-ac6d-0019d11a795f/

《海岸之风》下载地址（375mb avi）：
http://www.rayfile.com/zh-cn/files/eaeaad11-05f5-11de-ac7b-0014221b798a/

字幕：
http://www.rayfile.com/zh-cn/files/f02a14bd-05f5-11de-bbc9-0014221b798a/

似乎只要是经历过黑暗压迫的国家，都会出现革新性的音乐和电影，阿根廷新浪潮、巴西的TROPICALIA、智利新民歌、古巴新游吟歌谣。。。欧洲的西班牙同样经历过数十年的极权统治，当然也有属于自己的新歌运动 - LA NOVA CANCO（加泰罗尼亚语THE NEW SONG）。上世纪60年代中期，一直反抗着独裁并争取自由的加泰罗尼亚地区成为了新歌运动的起源地，由Guillermina Motta、Maria del Mar Bonet、Lluis Llach、Joan Manuel Serrat于巴塞罗那发起的这场运动虽然受到了统治者的严禁，在早期他们的唱片经常无法出版，只能地下制作一些单曲和合集，但到了70年代佛朗哥政权日渐没落之时，新歌运动的影响力开始延伸到西班牙全国各地，越来越多音乐家和歌手的出现，如Elisa Serna、Marina Rossell、Joaquin Diaz等人又将这场音乐革命发展壮大，与拉美新歌运动遥相呼应。西班牙新歌在风格上也涵盖多样，包括纯民谣、前摇、新弗拉门戈、政治民歌、迷幻等众多类型，甚至还有金属乐，但时至今日他们中的大部分已淡出了乐坛，而由于种种原因，像Maria del Mar Bonet、Jasume Sisa这样重要的歌手早期作品也未能再版，如今想找到他们的唱片已非易事。

不过也有例外者，比如LOLE & MANUEL，这支成立于上世纪70年代初的新弗拉门戈民谣组合因为昆廷的《杀死比尔2》中一曲《TU MIRA》而重新为人所认识，其实L&M并不用靠昆廷而出名，他们在国内早就颇有名气，《TU MIRA》也是几十年前的老歌了。Manuel Molina曾是塞维利亚前卫民谣乐团SMASH的主唱，后与自己的妻子Dolores Montoya共同组成了L&M，以多蕾丝激昂的嗓音和曼纽尔精湛的吉它演奏而著称，旋律在传统弗拉门戈的基础上结合了少许阿拉伯、土耳其及波斯民乐的元素，但最让人印象深刻的还是他们震撼人心的现场演出。L&M至今一共出版过8张专辑，前5张是LP，尤其75年的处女作《NUEVO DIA》献给西班牙诗人Juan Manuel Flores，歌词采用他的原作，许多曲目都已成为经典。今天推荐的是L&M发行于1975-1984年的前5张LP，都是很棒的音乐尤其75年那张相当牛X，喜欢西班牙民歌的朋友可以听听。很幸运找到了L&M的名曲《我的塞维利亚之河》（El rio de mi Sevilla）75年的现场首演，传到网上供大家欣赏，片段选自巴塞罗那电影导演Francesc Bellmunt的两部记录70年代新歌运动的纪录片《Canet Rock》和《La Nova Canco》，感兴趣的话可以用驴子搜到。

《我的塞维利亚之河》现场：http://v.blog.sohu.com/u/vw/2321463

下载地址（193mb 5xLPs rar）：
http://www.rayfile.com/zh-cn/files/b7936cd1-fb31-11dd-be83-0019d11a795f/

片名：The Short Films 1978-1985
主演：Eva Holubova, Milan Steindler etc.
摄影：Tomas Vorel & Martin Duba
编导：Tomas Vorel
时长：67 mins
国家：Czechoslovakia
色彩：Black and White + Color
风格：Comedy & Romance & Absurdism & Black Humor

如果大家有看我以前介绍过的一部捷克无声喜剧《布拉格狂想曲》（Skritek）的话，应该对那位创意独特的导演托马斯-沃瑞不陌生吧，其实他并不算青年导演，1957年出生，自上世纪70年代末就开始独立拍片了，只是一直默默无名，直到05年的一部《布拉格狂想曲》才让世界认识了这位有着古怪想法的捷克电影人。这本DVD选择在06年出版，正赶上了他的风头，碟中收录他早年拍摄的七部短片和一部舞台话剧，包括FAMU毕业习作《礼物》，从这些早年作品里就已经能看到沃瑞与众不同的创作风格了，《武士的法则》中对黑泽明电影的滑稽模仿，《PUNCH》中街头美眉奇遇记让人哭笑不得，《ING.》中结合流行歌舞和浪漫爱情的表现方式，他的影片有那个时代捷克电影里难得一见的轻松与快乐，夹杂着些许荒诞主义的黑色幽默，铁幕背景与政治压迫下的捷克电影人极少有像他那样自由随性的，而从那时起沃瑞就开始了尝试无对白剧情的创作方法。在《布拉格狂想曲》扮演母亲的Eva Holubova的表演让人印象深刻，但那并不是她第一次与沃瑞合作，82年的短片《我的女人》是霍鲁波娃首次与沃瑞合作，也是她的银幕处女作。今天推荐沃瑞的六部短片，除舞台剧和一部时间较长的作品外，其中有几部无对白，拍得很有意思，值得一看。:)

Tomas Vorel (b. 1957, Prague), began studies in direction at Prague's Film Academy (FAMU) after studying engineering at the Czech University of Technology (CVUT). He shot his first films as an amateur (My Lady, Punch, Law of the Samurai, Swift Arrows), then gained a reputation for exceptional talent at FAMU for his student films: A Garbage Man's Life (1983), I Want You (1984, aired on TV), The Gift (1984, TV), Ing. (1985), and Chemical (1986). On the majority of these films he worked with his colleagues from Sklep Theater. He helped establish Sklep as an actor and co-playwright (Party, Musical, Chemical, Grays) and also made Sklep videos (Either Yes, The Rod Sleeps, Just Right). He is an actor member of the Mimoza pantomime troupe as well. Tomas Vorel was one of the initiators of Prague's Akropolis Theater and the outdoor Summer Cinema on Prague's Strelecky Island.

His feature debut came with the story showcase The Prague Five (Prazska petka, 1988), in which he portrayed the character of the mischievous imp in the segment "A Trip to Karlstejn." Considered one of the best Czech films, The Prague Five grew out of the poetic of various Prague theater groups: Mimoza, Kolotoc, Vpred, Krec, and Sklep. His second feature, Smoke (Kour, 1990) – a "rhythmical of the totalitarian age" – tells the story of a young engineer named Mirek who gets a new job under the socialist regime and is assigned the huge task of ridding the city of exhaust fumes and smog. In 1996, director Vorel came out with his third feature, Stone Bridge (Kameny most), a biting comedy which plays out in the very heart of Prague: Charles Bridge. The story is filled with romance, passion, black humor, and dark Prague mysticism.

In 2000, he directed the highly popular Out of the City, which focuses on a computer programmer named Tomas. Two years later he followed it up with the untraditional documentary Out of the City (Z mesta cesta, 2002), in which he drew portraits of five incredible personalities, including Eva Holubova and Bolek Polivka. In 2005, he came out with another original work, the slaughterhouse grotesque Skritek (Skritek). The film earned Vorel, Marek Jicha, and Petr Kral a nomination for a Czech Lion for Best Creative Achievement. Skritek took Main Prize in the European film category at the Syracuse International Film and Video Festival in New York. Tomas Vorel has received a number of other prizes for his work. His latest feature, The Can, will premiere on September 27, 2007. Tomas Vorel lives in the Prague quarter of Branik, and one of his favorite places is Rabstejn nad Strelou – the smallest town in Europe.

01 Zakon Samuraju (Law Of The Samurai) - 1978 (9:16)
02 Rychle Sipy (Swift Arrows) - 1979 (4:01)
03 Kasparek (Punch) - 1980 (9:29)
04 To Muj Lada (My Lady) - 1982 (10:26)
05 Darecek (The Gift) - 1984 (11:02)
06 Ing. (ING.) - 1985 (22:09)

下载地址（731mb avi）：
http://www.rayfile.com/zh-cn/files/efc72aae-fb12-11dd-ada1-0019d11a795f/
http://www.rayfile.com/zh-cn/files/da4967a3-fb16-11dd-a355-0019d11a795f/
http://www.rayfile.com/zh-cn/files/6b837030-fb1b-11dd-b168-0014221b798a/
http://www.rayfile.com/zh-cn/files/4212b219-fb1d-11dd-8afd-0014221b798a/
http://www.rayfile.com/zh-cn/files/c33bde07-fb21-11dd-bf21-0014221b798a/
http://www.rayfile.com/zh-cn/files/b9b8e7bd-fb2a-11dd-b978-0014221b798a/

片名：A Alma do Negocio
主演：Carlos Mariano & Renata Guimaraes
编导：Jose Roberto Torero
摄影：Katia Coelho
年代：1996
色彩：Color
时长：8 mins
风格：Surreal Comedy & Absurdism Satire & Horror & Fantasy
获奖：97年累西腓影展最佳短片导演奖；97年洛杉矶棕榈泉国际电影节短片竞赛单元评委会特别奖；98年瑞典幻想电影节最佳短片

别被海报给骗了，轻松浪漫并不是它的全部，看到最后你绝对会目瞪口呆的。故事发生在一对夫妻之间，他们年轻充满活力还有迷人的笑容，他们的家宽敞明亮又温馨。某日清晨醒来，妻子对丈夫说“亲爱的，这张AA牌的席梦思实在太柔软舒适了！”，接下来两人便开始你一句我一句为自己使用的物品做广告：丈夫一边洗漱一边夸手上的XX牌剃须刀、GG牌牙刷、KK牌香水；妻子正冲凉，还在说QQ牌热水器、MM牌香皂和CC牌浴巾有多好。然后是早餐时间，妻子拿出一盒DD牌牛奶说“每天早晨喝一杯是生活的最佳选择”，丈夫却牵过一瓶果汁道“据科学证实早餐喝果汁比喝牛奶更有营养，所以我选择EE牌果汁”；丈夫刚拿起一盒FF牌饼干就被妻子一把夺去说“这种饼干没营养应该换成HH牌曲奇”。。。老外俩口子的生活就是有情趣~~~。不过此时好戏才刚开场：妻子拿刀帮丈夫切牛油却不小心切到丈夫的手指，丈夫痛得大叫妻子却面带微笑地对着镜头说“据使用者亲身实践这种JJ牌餐刀的确非常锋利”，丈夫心想你这不是故意找茬么，于是抄起一把叉子就往妻子手上扎去，一边还微笑着说“这把NN牌餐叉性能超群叉啥东西都易如反掌”，妻子也不甘势弱，拿出一盘子就往老公头上砸，盘子应声而碎，妻子说“LL牌餐盘虽然质量上乘一般不易碎但敲此硬物依然会裂所以最好还是轻拿轻放”，丈夫也绝非等闲，咣一声摆上一电动榨汁机，抓起老婆的手就往里塞！ 一边还阴险地笑道“WW牌榨汁机能将任何有液体的东西都榨出汁来”，妻子笑着包扎好手，转身抽出一把剑就往老公心口刺，丈夫立马掏出一开瓶器往老婆身上捅，于是两人鲜血直流，妻子终于搬出了自己的杀手锏 - TT牌电钻，丈夫也抬来了终极“武器”- VV牌电锯。。。最后两人全躺在椅子上一动不动了，画外音徐徐响起：当您流血不止时，请记住要随身携带RR牌伤口贴，否则将如此下场。。。

这部《商业的精髓》（The Soul of Business）大概是我所见过最奇异最有趣的短片之一了，正如导演本人所说，他想探讨的是一个很有意思的主题：究竟是我们人为地在为商业精华做广告还是广告本身才是商业的精髓？（Is advertising the soul of business or the soul of business is advertising?）我们每个人都生活在一个充满各式各样千奇百怪的广告的世界里，可又有多少广告中的商品是真正值得去拥有的呢？而当我们自己的生活中充斥着无数广告商品，我们是否也会像影片主人公那样去亲身试验它们的功效呢？这部短片用一个绝妙的故事讽刺了广告对人们生活无孔不入的影响和它的本质 - 夸大与攀比，而这种现象无论在资本主义国家还是社会主义国家都是存在的，这是商品经济所必然附带的缺憾。影片的创意堪比任何一部嘎纳广告节获奖作品，不过我想任何一个广告人大概都不可能设计出如此情节来吧，毕竟广告就是广告，绕来绕去最后还是要回到描述商品的优点上来，不会像这部短片里那样把两主角都玩到升天。。。所以我个人觉得导演最成功之处就是采用了创意广告的流行样式去设计故事，实际这反而是对广告最大的讽刺。MY RATING 5+

下载地址：
http://www.rayfile.com/zh-cn/files/d61fe197-eead-11dd-805f-0019d11a795f/

片名：Balada das Duas Mocinhas de Botafogo
导演：Joao Caetano & Fernando Valle
原著：Vinicius de Moraes
摄影：Rodrigo Monte
年代：2006
色彩：Color
时长：14 mins
预告：http://www.youtube.com/watch?v=gbeGoZPa0ho
获奖：06年巴西维多利亚影展评论家奖；07年巴西摄影家协会最佳短片摄影；07年迈阿密巴西电影节最佳摄影水晶奖

一对姐妹，从小她们的父亲离家出走，母亲又常年不在身边，长大后过着毫无意义的空虚生活，她们互相依靠共同寻找着一个出口，寻找着生活的意义，她们在夜色迷离的里约大街上追寻着任何刺激的冒险，然而希望却越来越离它们远去，也许只有唯一的方法才能让她们的心得到彻底的解脱。。。一个悲观的故事，结局很暗淡，很残酷，没有任何希望，如果你内心抑郁的话最好别看，不知道莫拉埃斯当年在写这首诗时究竟是怎样的心境？摄影和配乐很好，世上也许的确有这样的故事存在，但我还是觉得一个人至少别失去活下去的信念，《猜火车》里的马克最后都能找到生活的希望，我们为什么不能呢？

Two sisters, Marilia and Marina, try to find meaning in their empty lives through sexual experiences and adventures in the nightlife of Rio de Janeiro. Abandoned by their father, who left their family, and raised by their absent mother, the two sisters rely on each other and search for their own path, trying to find a way out. Based on the poem from Vinicus de Moraes.

下载地址：
http://www.rayfile.com/zh-cn/files/5cca7402-eeab-11dd-9430-0014221b798a/

片名：Clandestina Felicidade（秘密的幸福）
导演：Marcelo Gomes & Beto Normal
原著：Clarice Lispector
剪辑：Vania Debs
年代：1998
时长：14 mins
色彩：Black & White
类型：Childhood Drama
资料：http://www.douban.com/group/topic/1337253/
获奖：98年加拉马多影展最佳短片；99年迈阿密巴西电影节最佳短片水晶奖

改编自巴西女作家克拉丽瑟·李丝贝朵（1924-1977）发表于1971年的同名自传体小说，故事讲述一个11岁居住在累西腓的小女孩如何与身边的朋友交流发现周围神奇的世界，和她对待动物的善良及对文学的热爱，历尽挫折才在同学家借到了最想看的一本小说时发自内心的喜悦。。。全片采用黑白胶片拍摄，准确地把握住了原作中的纯真快乐和浓浓的怀旧之情，扮演童年李丝贝朵的小演员也很可爱。李丝贝朵是巴西著名女作家，出生于乌克兰，被认为是既有Marlene Dietrich的美貌又有Virginia Woolf的文笔的天才作家，她的作品在拉美很畅销，名气却反而不如博尔赫斯、阿马多等人，85年的那部《星光时刻》也是改编自她的小说。

Scenes of the childhood of a girl, living in a small Brazilian town, fragments of her childhood, the discovery of the strange world, perplexed and understanding of the writer Clarice Lispector. The childhood of writer Clarice Lispector, her love for animals and his passion for books in the city of Recife (northeastern Brazil) in the 1920s. Phebo with Luisa, and Nathalia Corinthia Haiut Germano.

下载地址：
http://www.rayfile.com/zh-cn/files/fd1213b8-eea6-11dd-8007-0019d11a795f/

片名：A Pedra do Reino (The Stone of the Kingdom)
摄影：Jose Tadeu Ribeiro & Adrian Teijido
音乐：Marco Antonio Guimaraes
导演：Luiz Fernando Carvalho
原著：Ariano Suassuna
年代：2007
时长：47 mins
风格：Surreal Fantasy & Magic-Realism
获奖：07年巴西摄影家协会年度最佳电影摄影奖。

《王国的神石》是一部充满奇特想象力的作品，改编自巴西目前在世最伟大的作家及诗人Ariano Suassuna（1927-）的同名小说，由Luiz Fernando Carvalho执导（01年他曾凭借《爸爸的左边》获蒙特利尔世界影展最佳艺术贡献奖）。苏瓦松纳的原著是其代表作，20世纪巴西文学史50本最佳小说之一，故事讲述在上世纪初巴西东北方一个虚构的王国里，人们平静而快乐地生活着，打扮怪异的小丑Quaderna每天带来欢乐，然而某个夜晚当善良的老国王被骷髅幽灵杀害后，混乱的时代开始了，国王的手下与幽灵一起谋夺了王位，大肆搜捕残害反抗的民众，正当小丑为无处躲藏而绝望时，城外的土匪突然发起的进攻却无意中救了他，为求生存小丑不得不加入了匪帮，并打算以此为生，可命运却瞬息万变，一天他在河边偶然捡到了老国王的王冠和权杖上的神石，种种奇异的遭遇让他手上的那块神石成了改变历史的关键之物。。。

此片属于魔幻风格，故事有点像《指环王》，但显然不可能有那么豪华的制作，实际上在各种各样充满着浓重巴西地域特色的超现实影像背后却隐藏着一段真实的历史，上世纪初的巴西社会动荡、军事政变和独裁统治接连不断，而东北匪帮也的确存在，苏瓦松纳的小说以一种虚构的魔幻手法去诠释真实的历史，并深深扎根于巴西东北广袤大地上，展现传统文化和民间传说的神秘，这也是拉美魔幻现实主义的主要特征，而影片也遵循了小说的叙述方法，以小丑入狱后回忆自己的一生为开场倒叙整个故事。全片的摄影非常出色，Jose Tadeu Ribeiro是巴西当代最杰出的摄影大师之一，曾四夺巴西国家影展最佳摄影奖，音乐则是由卡瓦霍的老搭挡Marco Antonio Guimaraes创作，当年那部感动无数人的《爸爸的左边》的精彩配乐为其获奖颇丰。

The Brazilian back lands. Quaderna, an old clown and bard, narrates, from his cart in the middle of the street, the History of his Family, a bloody saga of Kings, Bandits, Mystics and Backlands Poets. Among his tragic-comic memories is the arrival of the Judge, a powerful Inquisitor from the coast, who summons him for an inquiry in which he is the suspect in the murder of his Goodfather and accused of taking part in a popular revolution. In jail, he writes this rhapsodic tale revealing his desire to establish a popular and literary "leftist monarchy", and thus assume the role of genius of the Brazilian race.

Ariano Suassuna (born Joao Pessoa, 1927) is a Brazilian playwright and author. Four of his plays have been filmed and he is considered one of Brazil's greatest living playwrights. He is also an important regional writer doing various novels set in the Northeast of Brazil. He received an honorary doctorate at a ceremony performed at a circus. http://www.arianosuassuna.com.br/

下载地址（350mb avi）：
http://www.rayfile.com/zh-cn/files/e7e3efa6-eea2-11dd-bc64-0019d11a795f/

片名：Malibu（马里布）
摄影：Eames Demetrios & Hugo Schoener
导演：Eames Demetrios
剪辑：Eames Demetrios
音乐：Michael Meros
年代：1994
色彩：Color
时长：8 mins
风格：Avant-Garde & Experimental Video

美国南加州海滨小城马里布是世界闻名的度假圣地，也是众多好来污电影明星的别墅住地，然而同时那里也成了火灾重地，历史上曾多次遭受过森林大火的肆虐，最著名的一次是1993年11月一场罕见的山林大火从马里布的老托潘加路附近开始燃起并借风势瞬间席卷了洛衫机，火焰震惊了全美国，吞没了包括Sean Penn、Ali MacGraw、Mel Gibson在内的众多明星豪宅毁于一旦，12小时内绵延了5英里，直到3天后才最终得以控制。这部影片真实地记载了当年那壮观的景象，制作者是美国实验电影导演伊莫斯，当时他正好在马里布靠近着火点的一家酒店里，大火来临时他用一台特殊的缩时摄影机（timelapse camera）拍下了三天场景，随之剪辑成8分钟的缩时影像，这些奇异而绝美的实验影像将让你亲眼看到在自然的强大破坏力面前人类显得是如此渺小。

下载地址（110mb）：
http://www.rayfile.com/zh-cn/files/7315650c-ee8b-11dd-8805-0014221b798a/

今年的最后一天分享一张好听的CD。这张《拉丁美洲民谣精选集》收录了1975-2005年间来自阿根廷、巴西、智利、秘鲁、玻利维亚、乌拉圭、巴拉圭、古巴、墨西哥、哥伦比亚、委内瑞拉、尼加拉瓜和哥斯达黎加的十几位民谣歌手的佳作，很值得一听。那三十年正是拉丁美洲由动荡的独裁统治及民主革命时期逐渐发展到较为稳定的和平时期，而民歌也在拉美社会历史中扮演着比以往更为重要的角色，曾几何时音乐的力量带给多少人一丝对未来的希望。全辑共二十首曲目，男女演唱各十首，今晚我就打算一边听着这些歌一边告别多事的08年了，希望09年自己的生活能继续着新的变化，谢谢大家的留言和对这里的关注，祝福所有热爱小众电影和拉美民谣的朋友们。。。晚安，明年再见。

Coleccion de Canciones Folkoricas Latinoamericanas 1975-2005
Collection of Latin American Folksongs 1975-2005

01 Romance del enamorado y la muerte
02 A don osvaldo
03 Los chiriguanos del sur
04 Eres la nina
05 Quehaceres de junio
06 Ferran
07 No te olvides de mi
08 Las cosas por su nombre
09 Tiempo feliz
10 Lucho
11 Huella del azar
12 Necesito de tu amor esta noche
13 Postal de guerra
14 Nina dulce como el sol
15 Nada se de la muerte
16 Que pudo ser y no fue
17 Cuando ya no me quieras
18 Quiero abrazarte tanto
19 Desde la misma huella
20 Tiempo de paz

下载地址<1>（192KBPS MP3）：
http://www.rayfile.com/zh-cn/files/1ea9b528-eaae-11dd-b503-0014221b798a/

下载地址<2>：
http://rapidshare.com/files/189079312/Various_Artists_-_Latin_American_Folksongs_1975-2005.rar

科兹鲁克是个住在波兰乡下小村庄里的农夫，一家人其乐融融，某天上山砍柴遇见一流浪汉，说了一大堆神神叨叨的鬼话，下山后就发现自家的母牛早产了，这仿佛象征着坏运气的降临。第二天，政府派来专员和女教师，要在村里建一所小学，让孩子们也能得到教育，因为共产党觉得农民们好像对自己贫乏的精神世界早就习以为常了。在动员会上，女教师的美貌首先吸引了科兹鲁克的目光，他不禁开始胡思乱想。更惨的是次日一早村长带着女教师到他家说暂时把她安顿到这里，于是科兹鲁克每天满脑子都是自己与女教师YY的美梦，搞得心神不宁。与此同时，女教师的平易近人也得到了村民们的接受，她从城里买来桌布，刀叉和盘子，希望能改变全村古老而落后的大锅饭+木脸盆的生活方式，并在学校里教孩子们文化知识。

尽管所有人都与这位美女老师相处融洽，可科兹鲁克还是不满意，因为他发现女教师与年轻的邮递员的关系“不正常”，嫉妒渐渐占据了他的心。夜晚科兹鲁克攀上屋外的树偷看女教师的房间，奇异的幻觉再度袭来，“看”到一幕XX场景的他从树上掉了下去还震碎了人家的窗户，第二天一时火起把老祖宗留下的风水树给砍了，结果自己反被树压伤。几个月后当女教师回城时，村民们都来送她，科兹鲁克执意要亲自送女教师出村，途中一直对其抱有妄想的他终于得了回“满足”。回家后科兹鲁克仿佛变了个人一样，开始抛弃祖先的手艺，用长刀代替小镰刀上山割草，这种行为自然引起了公愤，人们联合起来与他理论，直到最后他终于举起手中的长刀挥向了自己曾经的朋友！瞬时，山上那棵古树冒起了熊熊烈火。。。

这是一部挺有深意的影片，它借描绘波兰城市先进思想与农村传统风俗之间的矛盾和碰撞为框架，所表达的主题是有关如何去接受一种新思维，以及人性的欲望无限扩张而导致的悲剧。一旦当你对某人或某事物有了异常强烈的愿望时，自然会产生迷恋、妒忌、怨恨、沮丧等极端的情绪，主人公科兹鲁克正是由于对女教师抱有自私的想法，又无法控制自己的私欲，最终让他失去了基本的道德底线，改变一个人的思想并不能简单地用满足他的欲望为筹码，影片最后当他举刀挥向那些无辜的村民们时，象征着人性基本道德法则的大树终于被欲望的火焰给吞灭了，其实在此之前故事早有预兆，当科兹鲁克不顾家人的哀求而锯断白桦树时，他固执偏激的性格特点已暴露得很明显了，这种性格的人是最容易被自我的欲望引向歧途的。

全片采用明暗对比强烈的黑白胶片拍摄，两种色彩象征着祖祖辈辈生活在波兰乡村的农民内心世界的单纯。其实那些看似行为古怪的村民们都挺可爱的，他们只想过上一种平静而自然的生活，他们会为几个不小心摔碎的鸡蛋而对老婆大加责骂，你和他们讲大道理他们压根就听不懂。就好像片中那场滑稽的村民大会一样，台上是来自城市的政府官员在滔滔不绝，台下一群人茫茫然不知所措，最后却是在一声响屁和哄堂大笑中尴尬收场，这才是当时的波兰普通农民最实在的画像，显然共产党并没有料到其实同化农民阶级思想的方法也许并不复杂，多送几个美女难道不比多建几所社会主义希望小学更管用些吗？呵呵。:P

影片导演Witold Leszczynski是波兰魔幻现实主义电影的创始者，而此片真正开启了80年代波兰魔幻写实电影的大门，并启发了后来的Jan Jakub Kolski。对比两位导演的作品也能看到一些相似之处，都侧重于拍摄农村题材，追求在自然中创造超自然想象的理念，描写传统乡土思维与现代城市观念之间的冲突等等。而在维托尔德之前波兰影坛关注农民问题的作品很少，绝大部分还是城市题材，毕竟当时波兰社会的主要矛盾集中在城市知识份子与政府的严厉管制上，也许共产党觉得那些农民们的思想简单好糊弄吧。但历史永远不会是一成不变的，从这部影片开始，波兰最本色的农民阶级也正式登上了波兰社会电影的大舞台，并至今都扮演着非常重要的角色。

个人觉得全片唯一美中不足的地方是最后烈焰焚树的场景，如果能将黑白换成彩色也许更震撼一点吧，黑白影像在这里略显力度不够，尽管全片的整体风格偏于平缓，音效也很安静，但最后的结尾确实需要一些能给人留下深刻印象的画面，当然这只是我私人的看法了。

《KONOPIELKA》，1981年，92分钟，黑白。1984年波兰电影节最佳导演银狮奖。MY RATING 4.5/5。