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云上的日子 下部

评分:
5.0

主演:苏菲·玛索 约翰·马尔科维奇 芬妮·阿尔丹 切瑞拉·凯瑟莉 伊莲娜·雅各布 文森特·佩雷斯 让·雷诺 吉姆·罗斯·斯图尔 

状态:正片

更新:2025-05-22 23:44

伦理 法国 / 意大利 / 德国1995

云上的日子 下部
云上的日子 下部
云上的日子 下部

剧情简介

《云上的日子 下部》是米开朗基罗·安东尼奥尼,维姆·文德斯导演的作品,发行于1995年(法国 / 意大利 / 德国),由苏菲·玛索,约翰·马尔科维奇,芬妮·阿尔丹,切瑞拉·凯瑟莉,伊莲娜·雅各布,文森特·佩雷斯,让·雷诺,吉姆·罗斯·斯图尔特,依蕾·莎丝特,彼得·威勒,马塞洛·马斯楚安尼,让娜·莫罗,恩丽卡·安东尼奥尼等主演,新视觉天天影院为大家提供云上的日子 下部完整版免费在线观看,能在手机和电脑上流畅观看云上的日子 下部高清版(正片法语 / 英语 /原声),同时还支持是手机投屏。
伦理云上的日子 下部讲述了:  what motivated me up to the new director's festival to catch 'martin frost' tonight was the brutal review that it got yesterday from the lead critic of the new york times, brutal dismissal, to be more accurate, 'the less said about (it) the better', she said, and i figured that any movie able to teach Ms Dargis the virtue of silence for even a few column inches would be worth the trip.  and worth the trip it was. we are brought into a paradise of limpidly beautiful visual textures. the oaken rhythms of a country house ensconced in a springtime parkland of luxuriant trees and luminous skies bestow the soothing natural blessing needed by the main character, martin frost (David Thewlis), a writer rubbed raw by the mechanics of finishing a novel in new york city. (Thewlis makes palpable the casualty of intrapsychic machinery sawed into daemonic reverb against the banausic hive). then paradise morphs into purgatory, leavened comedically, in Dante's sense, by the postmodern angelic visitations of Claire (Irene Jacobs) and Anna (Sophie Auster).  unfortunately, to my taste, the verbal dimensions of the film are flaccid, the logic more fanciful than imaginative, the narrative arc crippled by some irredeemably creaky plotting, especially at the crucial initiation of the relationship between martin and Claire where the seeds of common sense are thrown to the magpies of theatricality.  but so beguiling is the willful vulnerability of auster's fantasy, and the edgy interplay that it potentiates between Thewlis and Jacobs, and the camera, and later Sophie Auster, and the broad comedy of a rural everyman (Michael Imperioli), that it is very pleasant to be carried along on the visual foam of uncertain sensual delight, eddying into a feeling that this film's oddly louche light touch is uniquely adept at tracing some grave lineaments of the human heart.  go innocently.

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