La rouge et la noire

La rouge et la noire (2011)

(7.9) - 7 rating

Description movie

Thực hiện kịch bản chưa hoàn thành của Luc Moullets về hành vi trộm cắp la pénélope, một chiếc máy ảnh do Aaton tạo ra và có khả năng ghi âm tốt như nhau trong 35 mm và kỹ thuật số, LA ROUGE ET LA NOIRE là một bộ phim ở dạng kính vạn hoa. Chân dung của người sáng lập Aatons, người sáng tạo Jean-Pierre Beauviala, inter alia, về mã thời gian và máy ảnh ánh sáng được sử dụng bởi New Wave (đặc biệt là máy ảnh bụi cây được thiết kế đặc biệt cho Jean Rouch) tập trung vào cốt truyện cơ bản được giới thiệu bởi hai những tên trộm phụ nữ nói chuyện bằng giọng nói và danh tính của họ sẽ chỉ được tiết lộ vào cuối. Bộ phim dệt vải của nó thông qua nhiều phong cách hình ảnh khác nhau: Kho lưu trữ riêng của Beauvialas được quay trong 16mm, hình ảnh mà nghệ sĩ tạo ra trong khu vực làm việc của Aaton, in kỹ thuật số của một con quái vật nhỏ biến thái trên màn hình. Phần sau, một biến thể được ca ngợi từ biểu tượng quảng cáo Aaton của con mèo trên vai, thấm và can thiệp vào bộ phim, thể hiện mối đe dọa tiềm tàng và đại diện cho chủ đề tường thuật. ...

Carrying on Luc Moullets unfinished screenplay about the theft of la pénélope, a camera created by Aaton and capable of recording equally well in 35 mm and digitally, LA ROUGE ET LA NOIRE is a film in kaleidoscope form. The portrait of Aatons founder, Jean-Pierre Beauviala creator, inter alia, of the time-code and the light cameras used by the New Wave (in particular the bush camera specially designed for Jean Rouch) is centered around the basic plot introduced by two women thieves who talk as voice-overs, and whose identities will only be revealed at the end. The film weaves its canvas through many different styles of imagery: Beauvialas private archives shot in 16mm, images that the artist produces in Aaton work areas, digital inlays of a little monster who metamorphoses on the screen. The latter, a variant hailing from the Aaton advertising icon of the cat on the shoulder, permeates and interferes with the film, embodying potential menace and representing the narrative thread. ...
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