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关键词: 罗曼·波兰斯基 Knife in the Water 剧情 惊悚
米诺视频为您提供1962年由莱昂·涅姆奇克,乔兰塔·乌梅卡,兹古蒙特·马拉诺维兹奇主演,罗曼·波兰斯基导演的《水中刀》/原名《Nóz w wodzie》/又名《Knife in the Water》剧情 惊悚 电影在线观看完整版,《水中刀》百度云网盘资源以及《水中刀》高清蓝光mp4迅雷下载,《水中刀》BT下载资源,希望您能喜欢!
一对中产夫妻驾车出游,丈夫(里昂•尼梅兹科 Leon Niemczyk 饰)总是夸夸其谈,但妻子(乔兰塔•乌梅卡 Jolanta Umecka 饰)只是随声附和
Plot Summary:Well off Andrzej and Krystyna's marriage is at a stage where familiarity breeds contempt, that contempt which is outwardly shown only behind closed doors and only when an incident of some sort sets off one or the other. While driving through the countryside on a Sunday on their way to the lake to embark on an overnight sailing excursion, they almost run over a young male hitchhiker. Despite the antagonism between Andrzej and the hitchhiker, Andrzej offers him a ride as far as the marina. By the time they reach the lake, their antagonism has dissipated enough that Andrzej asks if he would like to join them on their sailing trip. The hitchhiker accepts despite knowing nothing about sailing. As the sailing trip progresses, the antagonism between the two men begins to increase again, fueled on both sides as each strives to be the alpha male. Andrzej needs to show his superiority, while the hitchhiker needs to show that his young age and inexperience, not only with sailing but with life in general, do not make him any less of a man in comparison. Later incidents demonstrate that their relationship may have been different if Krystyna was not in the picture. The hitchhiker's pocket knife, seemingly his most prized possession on his person, becomes a symbol of that power struggle between the two men. If the three emerge from their sailing trip alive, they may be forever changed by their encounter.
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水中切不开任何东西
【B】分类:惊悚???
单论电影,真牛,真是隔着屏幕都能感受到的才气和锐气。虽然这部胜在文本,但是还是想感叹摄影和镜头,极美,同六十年代欧陆的影像简直格格不入。
所有人脸前景构图都无比惊艳,叙事的摇摆性犹如新手驾船,老辣藏在摇摆后,真的很难相信是首作。
三星半,这个青年真讨厌
不行我感觉有点无聊,一切冗长的发生于单一狭窄场景的平铺直叙,两男的看起来可笑的胜负欲与针锋相对
我局得1般
其实我喜欢里面的意像,镜头和意图描绘的关系,如何知道我们正在行船?将手中象征暴力和主导的刀扔下去。但是故事本身在现在看来太老套了,没什么真的新意,这种大量隐喻的电影如果不能够锋利如剑就没什么好说的了。
由散漫的三人行介入,又随着刀子进入水中之后,三人的关系则变得紧张而又集约。每个人都在无形中轮流体验着征服者的快感,但当装完逼之后,剩下的无非是回归生活之中的平淡。
刀是一个具有尖锐指向性的标志,当刀在青年男人手里时,他在船上是突兀而锋利的存在;当刀转移到中年男人手里时,中年男人已然成了被隔离孤立的那一个, 她的妻子和青年男人已形成新的阵营;青年男人把船桨丢进水里是在向中年男人引以为傲的生存技能和身为船长的所谓权威发起挑衅,中年男人把刀丢进水里是在企图挟持青年男人坚挺的精神信念。他们制造着威胁和恐惧来回斗争,但他们又很相似,相似在互相厌恶着彼此,却又互相模仿着彼此;相似在他们都擅于放大对方的劣势来遮蔽自己的软弱。事实上,他们一样幼稚。青年男人的出现也唤醒了女人的自由意识,最后一段车内争吵正是女人对中年男人长期专权压制的有力反击,而中年男人已自大到无可救药的地步,他只相信自己认定的真相,对于其它的可能性便也不会再求证和辩驳。
①罗曼·波兰斯基执导的第一部作品,一问世就给导演带来了世界性的声誉。②本片展现出导演对于戏剧场景的高度把握,细腻刻画出人与人之间的猜疑和好胜,又暗藏阶级对比与婚姻危机。③斑驳的树影映射在挡风玻璃上作为开头,汽车停在路口的远景作为开放式结局。④景深妙用:前景中两个男子在刀戳指缝的游戏时剑拔弩张,后景中女子在戏水,纵深的三角构图表现人物间的对抗。⑤24:20年轻男子的动作隐喻耶稣,对应45:15镜头中的walk on water。⑥恰到好处的爵士乐:这是爵士乐首次被用在波兰电影上,在当时的波兰不允许演奏爵士乐,爵士乐迷们要在一些秘密聚会碰面、演奏,就像是地下活动一般。