从我是特种兵开始打卡

电影用“旁门(📰)(mén )左爱(🤫)”的(🆖)视(shì )角去看待男(ná(📴)n )女之间的(🤣)恋(liàn )爱关系，而由张(🐐)禹(😱)扮演的男主角张洪(🥚)亮(liàng )在(🐷)片(🔸)中是一(yī )名勤恳努(🤫)力(lì )的(➕)新(🗨)晋演员(yuán )，在演戏和(🗺)真实不断(🌅)切换的生活中最终(🛰)(zhō(🔯)ng )逆袭成功虏(lǔ )获真(👱)爱。由(yó(🆚)u )于(📳)角色的身份促使张(🔅)禹在片中(🔹)同时扮演(yǎn )多种身(🙆)份，拿捏有(🕜)余的(de )演技也让我(wǒ(🎱) )们(🐫)看到了这位青年男(💴)演员不(🍛)俗(💫)的实力。张禹坦言电(🔀)(diàn )影中的(⛵)“戏(xì )中戏”对自(zì )己(🚭)来说是一场不小的挑(💡)战，因为(🚐)自(🔕)己不(bú )仅要诠释角(🗄)(jiǎo )色本(😟)身(🈂)，并(bìng )且要努力揣(chuā(🥕)i )摩剧中角(🤥)色要饰演的角色。 Sture is a rich alcoholic who has taken a trip to Mallorca to drink himself to death. But he meets Sylvia and they start a relationship. Sture moves in with her in a middle-class community. Sylvia has an eighteen year old daughter, Eva. She gets murdered on the night between Midsummer eve and Midsummer day, and to the police the primary suspect is Sture, who was so intoxicated that he can not say what he was doing during the night. 影(🗂)片(☕)改编自(zì )三浦紫苑(🎙)的(de )同名(⏲)小(🎶)说。少年时代杀人的(🐩)罪行因海(🔽)啸而被抹灭，从灾难(🚱)中生(shēng )还(😷)的男女三(sān )人25年后(🕋)重(🐠)逢(féng )，却再次被卷入(🎀)无法逃(🐼)离(📰)的悲剧命运。 导演奥(🍨)利维(wéi )耶(🐲)·米加顿(dùn )（Olivier Megaton）即(💤)将拍(pāi )摄一部科幻动作片《冠(🥨)军(🥃)》（The Champion），该片(piàn )的编剧(🏃)是演(yǎ(👁)n )员(🏴)哈尔·奥(ào )赞（Hal Ozsan）(🐥)，而(ér )该片(🤕)的剧情被形容为“科(🕠)幻(📍)版的《斯巴(bā )达克斯(🐕)》”。 Middle aged Tae-gyu spends every night making love to his young and beautiful wife and everything seems like a happy dream to him. One night while his wife is out of town, someone keeps knocking on the door. The knocker doesn't reveal him or herself so Tae-gyu opens the door to find a woman who looks just like his wife, standing there. No, this woman looks just like his wife but she is wearing thick and heavy make up, has blonde hair and is wearing torn and ripped clothes. She's more decadent than his sentimental wife. 影片讲(🧢)述(🙍)(shù )了一位创业成功(🚈)的青年企(🚃)业家，在经历了人生(💳)的重(chóng )大(👛)考验后，不顾家人反(🈺)(fǎ(🏞)n )对，毅然放弃了现有(💚)的大好(👾)生(🗄)活，决定(dìng )“换个活法(🍨)(fǎ )”…… 《鱼(💫)(yú )缸》这部作(zuò )品采(🥗)用多重叙事结构，将传统线性(🧜)叙(🖱)事(shì )结构打破，用无(🖥)叙事和(👜)(hé(🐖) )意识性图像(xiàng )组合(🧞)。影片中类(🚏)似于虚构化、碎片(❄)化(🔅)图(tú )像和片段，实质(🍧)上用多(✡)(duō(🏤) )个意识形态和故事(🥐)之间以及(👰)片段之间组合和串(♒)联，使动画(🏁)语言(yán )结构上有了(👫)(le )类(🐘)似呼吸作用。用生活(🥁)常见物(🔗)像(🌉)和意识(shí )图形变化(🐔)，表现人与(🐤)物(wù )束缚，群体(tǐ )无(📕)意识化，人如鱼缸中鱼被束缚(🍕)在(🚚)空间(jiān )中，和人对(duì(👃) )鱼缸中(🖲)多(🥒)维(wéi )度空间时间(jiā(💧)n )理解。如同(🆘)时间和空间，每个人(🥙)都(🏸)要从(cóng )开始到结束(🔟)(shù )如莫(🚌)比(🖕)乌斯(sī )环一样循环(😳)回来。画面(📤)超现实主义感和意(🤙)像表现上(📵)(shàng )使用到多媒(méi )材(🔋)表(🔉)达，用(yòng )手绘2D动画语(🏖)言、电(🤲)脑(📐)后期技术、拼贴图(🎶)(tú )像综合(🈚)技术(shù )运用，是对(duì(✂) )动画作为(🐾)艺(yì )术媒介独立思(🌀)考(💉)与运用。