剧情：
转自：http:// www.filmlinc.com /nyf f/201 0/views-from -the-avant-garde-frid ay-october-1/vi ews-f rom-the-avant-gard e-jean-marie-straub “Th e end of p aradise on earth.”—Jean- Marie Straub The 33rd vers e and last chan t of “par adise” in Dante’s D ivine Comedy. T he film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huill et and Jean-Marie Straub’s 1987 The Death o f Emped ocles—“O himmlis ch L icht! …” (O h eavenly light!). Th is ext ract from H ölderlin’ s text is also inserted into their 1989 f ilm Cézanne. “O somm a luce” in vokes utopia, or better still “u -topos,” Dante, Holderlin, Cézanne… the camera movement, recall ing Sisyphus , in the film’s l ong shots, sugge sts its difficulty. In O somma luce, with Gi orgio Passerone’s Dante and the ver se that con cluded the Divine Com edy, we find at t he extremity of its po ssibilities , the alm ost happy speech of a man who has just left ea rthly para dise, who tries to fully realize th e potentia l of his natu re. Between the tw o we find the st ory of the world. The first Jean-Mar ie Straub film shot in HD. So singular are the textual working me thods of Straub-Huille t, and now Stra ub on his ow n, that it is hard to g rasp how far reaching they a re. Direction is a m atter of words and speech, not emotions a nd action. N othing ha ppen s at the ed ges, every thin g is at the co re and shines from there alone. During the reh earsals we sense a slow proce ss by wh ich ingredients (a t ext, a ctors, an int uition) progres s towards cohesiv eness. It is, forgive the comp arison, like the kneading of d ough. It is the assembling and working of somethin g until it becomes some thing else… and, in t his case, starts to s hine. Actual ly it’s very simple, it’s just a question of opening up to the light material that has been sealed up. H ere, the process of kneading is to bring to life and then rev eal. The material that is worke d on is speech. So i t is speech that becomes visible—noth ing else. “Logos” com es to th e cinema. The mise en scène of what words exactly? The process of revea ling, “phainestai”; “phain omenon,” the phe nomenon, is what take splace, what be comes visible to the e ye. I s “Straubie ” Greece? This mise en scène of speech, w hich goes b eyond a cl ose reading of the c hosen text , is tr uly comes f rom a distant source.—Barba ra Ulrich 安画有些意兴阑珊地摘 下一个储物戒指，“驻地里的传送宝盒被洪叔带走了， 这件事，我已经给你们在天音嘱秘密留言了，所以，他那边失却的东西，我管不了，这里的……是我们收集的各方资料，你好好看，也许 对你有用。”
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