大洪水

嘿，我跟你说，1933年那部《大洪水》真挺妙的。佩吉·香农演的那个母亲，抱着孩子站在泥水里时，眼神里没有一丝夸张的表演痕迹，只有茫然的疲惫，这种真实比任何哭喊都揪心。 ✿。佩吉·香农饰演的农场女儿在逃难途中面对父亲与爱人的生死抉择，其表演并未陷入夸张的嚎哭，而是用颤抖的肢体语言传递绝望；西德尼·布莱克默扮演的投机商人则成为灾难中人性异化的活标本，被洪水吞噬前的最后挣扎堪称默片时代遗风。 ♪。那时候没电脑特效，导演费斯特就靠实打实的模型、水流和剪辑节奏，把洪水逼近的压迫感拍得特真实，看得人手心冒汗。

When talking about Louis XVI and his wife Marie Antoinette, what immediately comes to mind are lace, tall wigs, flamboyant clothes and colours, Versailles, or… the guillotine. Here, between these two extremes, exists a middle ground, a period of time seldom explored: the few months when the last king and queen of France were imprisoned, with their two young children, in a black castle on the outskirts of Paris, awaiting their executions. A brief and condensed period where, amidst violence and harassment, all masks fell off: those of two royals, as public and private figures; that of the old regime; that of a History that finally turned the page; and that of God who, from then on, was eclipsed by the shadows, leaving man entirely alone.

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