游牧人生完整版本(2021)(HD-1080P)

Publish Date : 2021-03-18


游牧人生完整版本(2021)(HD-1080P)

2020威尼斯影展金獅獎,奧斯卡影后法蘭西絲麥朵曼主演。六個月橫跨美國七大州,一名以車為家、打著零工的「游牧者」,即使面對艱困的生活和內心掙扎,她仍堅定地在一望無際的廣袤大地上,踏上屬於自己的旅程。
片長:107分 上映日期:2021/03/19

➥ 現在觀看 ▶️▶️▶️ https://trend.mopiehitz.com/zh/movie/581734/nomadland

IMDb
美國票房:123萬(美金)
影片年份:2020
出  品  國:USA
出  品:Cor Cordium Productions
發  行  商:20世紀影業
語  言:English
色  彩:color
音  效:

 劇情簡介
華裔女導演趙婷和奧斯卡影后法蘭西絲麥朵曼攜手合作、勇奪金獅獎的《游牧人生》。
六個月橫跨美國七大州,跟隨遊牧族實景拍攝。
「你無家可歸嗎?」「我不是沒有家,我只是沒有房子。」
法蘭西絲麥朵曼飾演一名以車為家、打著零工的「游牧者」,即使面對艱困的生活和內心掙扎,她仍堅定地在一望無際的廣袤大地上,踏上屬於自己的旅程。
劇情描述,在內華達州郊區的一座企業小鎮經濟崩垮後,芬恩(法蘭西絲麥朵曼 飾)收拾起行囊,駕著她的露營車,決定踏出傳統社會的框架,探索她的現代游牧人生旅程。《游牧人生》為華裔女導演趙婷生平的第三部長片,該片更找來了現實生活中的游牧族琳達梅依、史汪奇,以及鮑勃威爾斯參與拍攝演出,並擔任這位新的游牧族芬恩的良師兼益友,陪伴著她探索美國西部廣闊的景致,展開她的游牧人生。
影片描繪美國在金融風暴衝擊、工廠紛紛關閉後,發展出以車為家的新型態社群。趙婷以細膩筆觸勾勒出當代游牧者的生活圖像,引領觀眾進入他們的真實人生,透過蒼茫絕美的鏡頭譜寫動人詩篇,獻給那些背負著生命故事的流浪靈魂。

 相關影評/專題文章
◎ 【影評】《游牧人生》:不只是說故事,而是開啟了一扇門,領著你進入其中 【出前一廷】 2021-03-12
雖然《游牧人生》所描繪的是一種十分獨特的生活,但趙婷選擇切入的角度既沒有那種白領階級式的憐憫及社會關懷,也沒用推崇拋棄物質文明的角度來大肆讚美,而是讓我們看見,讓你決定自己究竟看到了怎樣的東西。
◎ 《游牧人生》:阿姨我不想努力了之一趟平淡卻暗流湧動的旅程 【Lizard】 2021-03-05
這部電影樸實的像大衛林區,怎麼可以善良的這麼犯規?一個帶有秘密的阿姨在路上「遊牧」,當然更犯規的是本片的美景與配樂,直接勾起我的私人經驗,所以我一直在理性與感性間拔河。

 相關新聞
◎ 女導演趙婷創紀錄《游牧人生》帥氣攝影師男友愛相隨雙雙入圍2021-03-17
趙婷首度入圍便創下史無前例的非凡紀錄,成為首位當屆入圍四個獎項的女性,最佳導演更創下首位入圍的非白人女性紀錄,也是首位入圍最佳剪輯的亞裔女性。
◎ 93屆奧斯卡入圍名單公布!《陽光普照》未入圍最佳國際電影2021-03-16
本屆奧斯卡締造不少入圍新紀錄,名單展現了前所未有的多樣性,《父親》安東尼霍普金斯以83歲高齡提名影帝,史蒂文元也成為首位以亞裔身分角逐影帝的演員。
◎ 《游牧人生》李安四年前早已被圈粉:趙婷是最令人期待的導演2021-03-10
《游牧人生》受到金獎導演李安慧眼識英雌、給予趙婷極高的評價:「自《重生騎士》後,趙婷是近年最令人期待的導演之一。」

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In 1889, on November 1 in Gotha, Germany Anna Therese Johanne Hoch, who later would be known as Hannah Hoch was born. Being the eldest of five children, the girl was brought up in a comfortable and quiet environment of the small town. Her parents, a supervisor in an insurance company and an amateur painter sent her to Girl’s High school. However, at the age of 15 Hannah had to quit studying for the long six years to take care of her newborn sister. Only in 1912 she continued her education with Harold Bengen in School of Applied Arts, mastering glass design. As the World War I broke up Hannah returned to the native town to work in the Red Cross.
The first years after war the young woman recommenced her studying, getting to know graphic arts. 1915 was highlighted by an acquaintance with an Austrian artist Raoul Hausmann, which grew into the long-lasting romantic relationship and involvement in Berlin Dada movement. For ten years till 1926 Hoch worked in Berlin’s major publisher of newspapers and magazines. Her task was to design embroidering, knitting and crocheting patterns for the booklets.
Being on vacation with her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-and-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, and she created mass-media photographs comprising the elements of photomontage and handwork patterns, thus combining traditional and modern culture. Her prior preoccupation was to represent the ‘new woman’ of the Weimar Republic with new social role and The Owners freedoms.
Hoch was the only woman in Berlin Dada, who took part in all kinds of events and exhibitions showcasing her socially critical works of art. Till 1931 she participated in exhibitions but with the rise of National Social regime was forbidden to present her creative work. Till her last breath in 1978 Hannah Hoch lived and worked in the outskirts of Berlin-Heiligensee.
The piece of art which is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology and females. In the middle of the picture one can clearly see a woman dressed in a modern bathing suit with a light bulb on her head which probably serves as a sun umbrella. In the background a large advertisement with a woman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The woman is surrounded by the images of industrialization as tires, gears, signals and BMW logos. A woman’s profile with the cat eyes, untrusting and skeptical, in the upper right corner is eye-catching as well. This unusually large eye symbolizes DADA movement — a monocle, which is present in almost every Hoch’s work. The colour scheme does not offer rich palette of tints, including mostly black, white, orange and red pieces. The photo is surrounded by the BMW circles which add the spots of blue.
An apt description of the piece is The Owners in the book ‘Cut with the Kitchen Knife’ and states that it is ‘a portrait of a modern woman defined by signs of femininity, technology, media and advertising’ (Lavin). In other words Hannah Hoch focused on the woman of the new age, free and keeping up with the fast-moving world. The artist promoted feministic ideas and from her point of view urbanization and modern technologies were meant to give hope to woman to gain equality of genders. With this photomontage she commented on how the woman was expected to combine the role of a wife and mother with the role of a worker in the industrialized world. The light bulb instead of a face shows that women were perceived as unthinking machines which do not question their position and can be turned on or off at any time at man’s will. But at the same time they were to remain attractive to satisfy men’s needs. The watch is viewed as the representation of how quickly women are to adapt to the changes.
In a nutshell, Hoch concentrated on two opposite visions of the modern woman: the one from the television screens — smoking, working, wearing sexy clothes, voting and the real one who remained being a housewife.
The beautiful girl’ is an example of the art within the DADA movement. An artistic and literal current began in 1916 as the reaction to World War I and spread throughout Northern America and Europe. Every single convention was challenged and bourgeois society was scandalized. The Dadaists stated that over-valuing conformity, classism and nationalism among modern cultures led to horrors of the World War I. In other words, they rejected logic and reason and turned to irrationality, chaos and nonsense. The first DADA international Fair was organized in Berlin in 1920 exposing a shocking discontentment with military and German nationalism (Dada. A five minute history).
Hannah Hoch was introduced to the world of DADA by Raoul Hausman who together with Kurt Schwitters, Piet Mondrian and Hans Richter was one of the influential artists in the movement. Hoch became the only German woman who referred to DADA. She managed to follow the general Dadaist aesthetic, but at the same time she surely and steadily incorporated a feminist philosophy. Her aim was to submit female equality within the canvass of other DADA’s conceptions.
Though Hannah Hoch officially was a member of the movement, she never became the true one, because men saw her only as ‘a charming and gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only woman in their community in the following words: ‘the girl who produced sandwiches, beer and coffee on a limited budget’ forgetting that she was among the few members with stable income.
In spite of the gender oppressions, Hannah’s desire to convey her idea was never weakened. Difficulties only strengthened her and made her an outstanding artist. A note with these return words was found among her possessions: ‘None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men’ (Maloney).
Hoch’s technique was characterized by fusing male and female parts of the body or bodies of females from different epochs — a ‘traditional’ woman and ‘modern’, liberated and free of sexual stereotypes one. What’s more, combining male and female parts, the female ones were always more distinctive and vibrant, while the male ones took their place in the background. Hannah created unique works of art experimenting with paintings, collages, graphic and photography. Her women were made from bits and pieces from dolls, mannequins of brides or children as these members of the society were not considered as valuable.
Today Hannah Hoch is most associated with her famous photomontage ‘Cut with the kitchen knife DADA through the last Weimer Beer-Belly Cultural ep



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