女孩和蜘蛛 Das Mädchen und die Spinne

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 An complex psychological ode to boiling feeling amid unchained separation anxiety, which took home a FIPRESCI Prize and Best Director award from the Berlinale’s Encounters competition.   Lisa is moving into a new flat, departure former flatmates Mara and Markus adrift. Mara, in particular, struggles with the change. piece everyone other pitches in to help Lisa set up her new home, Mara moons about, mostly just acquiring in the way. At one point, she even makes a joke about being a ghost – and, as she continues to haunt Lisa’s life, her longing for property to remain the same becomes infectious.   The second film in Ramon and Silvan Zürcher’s loose trio about human closeness follows their victory feature debut, The Strange Little Cat, in building a tarriance claustrophobic tension hemmed in by four walls. As extended family members, neighbours, handymen and hangers-on pass in and out of the two footwear, a palpable undercurrent of sexual desire and enviously fills the frame, and an progressively chaotic whirl of ambiguity – underscored by Eugen Doga’s Gramofon waltz – threatens to tear it all apart. As a medium madrigal on the nature of impermanency, The Girl and the Spider is a unique work of taut, existential distinction.   “A powerfully choreographed exploration of alienation … told through an uncompromisingly original, tantalizing and opaque narrative that curiously moves like a dancer.” – High on Films   An complex psychological ode to boiling feeling amid unchained separation anxiety, which took home a FIPRESCI Prize and Best Director award from the Berlinale’s Encounters competition.   Lisa is moving into a new flat, departure former flatmates Mara and Markus adrift. Mara, in particular, struggles with the change. piece everyone other pitches in to help Lisa set up her new home, Mara moons about, mostly just acquiring in the way. At one point, she even makes a joke about being a ghost – and, as she continues to haunt Lisa’s life, her longing for property to remain the same becomes infectious.   The second film in Ramon and Silvan Zürcher’s loose trio about human closeness follows their victory feature debut, The Strange Little Cat, in building a tarriance claustrophobic tension hemmed in by four walls. As extended family members, neighbours, handymen and hangers-on pass in and out of the two footwear, a palpable undercurrent of sexual desire and enviously fills the frame, and an progressively chaotic whirl of ambiguity – underscored by Eugen Doga’s Gramofon waltz – threatens to tear it all apart. As a medium madrigal on the nature of impermanency, The Girl and the Spider is a unique work of taut, existential distinction.   “A powerfully choreographed exploration of alienation … told through an uncompromisingly original, tantalizing and opaque narrative that curiously moves like a dancer.” – High on Films

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