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更新時(shí)間：2023-08-10 19:16
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This film marks the directorial debut of Robert Benayoun. An artist (Richard Leduc) attending a party smokes some dope and develops the ability to see into the future and the past. He returns to his apartment where he sees the vision of a woman who had lived there 30 years ago. A friend tries to convince him it is his heightened sensitively as an artist that allows for the newfound abilities, but he soon has psychedelic hallucinations and his abilities increase with time. Stop-motion photography is effectively used in his sequence of visual experiences where the people exist but not the city in this metaphysical story.
題材有意思但是沒能拍得足夠好玩 定格來表現(xiàn)過去現(xiàn)在與未來交織的部分受到技術(shù)手段限制拍得怪怪的甚至有點(diǎn)搞笑 側(cè)重點(diǎn)是在時(shí)間與記憶上但對(duì)這個(gè)方面的探討也主要就集中在對(duì)話里 倒不如多點(diǎn)懷舊部分拍成巴黎旅游宣傳片。。。。。此片大概受了一些現(xiàn)象學(xué)啟發(fā) 沒記錯(cuò)的話六七十年代也是這一理論在法國流行起來的時(shí)期 有些段落想到了下樓的裸女（忘記當(dāng)時(shí)是看了哪個(gè)哲學(xué)家評(píng)這幅畫講到了這種對(duì)于時(shí)間和空間連續(xù)性的討論。。。。伯格森嗎還是梅洛龐蒂。。。。。）
3.5 可以當(dāng)作是sci-fi anthology show的一集，也可以作為以這為主題的科幻劇的首播集。沒任何特效僅僅用stop motion場景疊加就制造出來不錯(cuò)的超現(xiàn)實(shí)感，當(dāng)然這么偷看女生還是挺直男creepy的！到后面顯得有些重復(fù)而情節(jié)上沒有再多的突破，而其他點(diǎn)到的關(guān)于藝術(shù)創(chuàng)作的瓶頸，對(duì)現(xiàn)代概念抽象拼貼藝術(shù)的不屑，關(guān)于時(shí)間的random musing：似是而非的螺旋時(shí)間觀，過往現(xiàn)在未來的交疊，事物瞬息萬變而生命永恒？關(guān)于選擇走上街頭還是沉溺于自己的藝術(shù)小世界而并不會(huì)良心不安等情節(jié)元素又似沒有同主要的超現(xiàn)實(shí)premise更好地結(jié)合呼應(yīng)起來。更多還是閑散地借這premise記錄兩個(gè)不同時(shí)期的巴黎街頭（與室內(nèi)裝潢？art nouveau decoration）以及踐行Guy Debord所說的Dérive？【男主開車那會(huì)兒我就心說這能開么會(huì)不出車禍？
一個(gè)一度接觸到時(shí)間bug的男人同時(shí)看見眼前地方的過去和將來，沒有陰謀沖突，僅僅是一陣或許無意義的怪病似的，旁觀已足夠造成錯(cuò)亂，用了定格動(dòng)畫快切等表達(dá)，制作很廉價(jià)，不過男主是《N已經(jīng)擲出骰子》里的N. (Richard Leduc)，知性柔和的美貌化解了影片的一些稚拙生硬。甘斯布出演男主的哲學(xué)之友，又是個(gè)亨利勛爵式的人物。ulozto.net/file/Z7kgVArLKISH/paris-n-existe-pas-robert-benayoun-1969-avi
法式迷幻片，音樂很贊。
為音樂而來