Light and makeup turn her into a spectrum of changeability. Here she's semi silhouetted by the window light on a drab day, there her chameleon face is fully lit by the work table. In fact, I found Kovacs an enticing Lolita figure as she bops around her apartment chasing her visions and memories, exposing a disturbed mental landscape. Her range of expression and sensual appeal feed a demanding performance that should be her ticket to wide recognition and considerable success on American and international film circuits. For my money, this Budapestian newcomer is an international star in the making. Discovery by an American director is all it will take to get that ball rolling.
  The visual detail of the noirish atmosphere is at the highest possible level of film resolution. While some might consider the story telling technique a bit gimmicky, the devotion to it and its elegant realization elevates it to cinematic artistry."/>

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来源:影视大全 发布时间:2018-10-28 00:00:00

2003《慾孽囚室》4K迅雷网盘下载

状态:

分类:电影

年份:2003

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下载地址慾孽囚室剧照与影片简介

慾孽囚室

评分:0

地区:匈牙利

片长:94 分钟

导演:Tamás Sas

热度:22348℃

类型:剧情/爱情/犯罪

语言:匈牙利语

编剧:塔马斯∙萨斯

主演: Patricia Kovács/Gábor Máté

状态:

更新:2018-10-28

影片别名:Down by Love

Utilizing a fascinating formal conceit, the Hungarian psychodrama DOWN BY LOVE (SZERELEMTOL SUJTVA) is anchored by a remarkable performance from actress Patricia Kovacs. Necessarily so, because Kovacs is virtually the only actor on-screen in the film, which also takes place entirely within the four walls of one apartment. Obviously inspired in part by Polanski's REPULSION, DOWN BY LOVE tracks Eva's (Kovacs) slow mental breakdown as she reconsiders her long relationship with lover and foster father Tibor. Eva begins to realize, perhaps for the final time, that Tibor will never ask his wife for a divorce, and that he considers Eva no more than a plaything. The insight begins to cause her to unravel, possibly with tragic consequences.   The art of this is in the challenges director Tamas Sas set himself (perhaps with a nod to Roman Polanski's "Repulsion") and in a world class performance by Patricia Kovacs that vividly meets the tight framework of his vision. Our eyes never leave this girl or the images of her psychosis. The camera grips her in its focus for every frame while other character are seen in soft definition or through mottled glass on the peripheries of the composition. And, while this total absorption with a single character and her fixation might suggest intensity overkill, Sas, his exceptional cinematographer Elemer Ragalyi, and Kovacs herself so vary the visual and modal contexts of the drama that fascination remains constant.   Light and makeup turn her into a spectrum of changeability. Here she's semi silhouetted by the window light on a drab day, there her chameleon face is fully lit by the work table. In fact, I found Kovacs an enticing Lolita figure as she bops around her apartment chasing her visions and memories, exposing a disturbed mental landscape. Her range of expression and sensual appeal feed a demanding performance that should be her ticket to wide recognition and considerable success on American and international film circuits. For my money, this Budapestian newcomer is an international star in the making. Discovery by an American director is all it will take to get that ball rolling.   The visual detail of the noirish atmosphere is at the highest possible level of film resolution. While some might consider the story telling technique a bit gimmicky, the devotion to it and its elegant realization elevates it to cinematic artistry.原本还以为一人独演 最后大家都出现了 伊凡和理查德没见到!勉强及格。也算大胆,虽有访客和情人,但场景基本就那个房间,演员也只女主一人。单调的空间是很明显的女主情感外化,导演尽力用配色跟运镜、配乐缓解单调,具体手法上有贝托鲁奇的意思。前半段频频出现的脑中声音预示疯狂的结局,一个恋熟女青年的崩溃。那些冷漠脸女青年,何尝没有段被用来泄欲的经历