羅伯特·布松之于法國影，就好比扎特之于奧利音樂，陀妥耶夫斯基于俄國文學(xué)羅伯特·布松（Robert Bresson）在四十多年前攝的《竊手（Pickpocket，一九五九年至今被影評認(rèn)為是一部最當(dāng)代的影”。他本人一九九九年末的辭世曾凍結(jié)了全世電影人的心人們悲傷“百年來，攜電影的手松了”；而一五九年則被電影筆記》斷為“一個影的分水嶺，一個顯見原因是，一五九年的巴街頭，戈達(dá)在拍《斷了》（à bout de souffle），同時，布烈松在攝竊手》。想以下的場景相當(dāng)動人的蜜薩魯（《了氣》的主公）跑過巴的街角，和歇爾（《竊》的主人公相遇；戈達(dá)的身影晃過烈松的底片《竊手》的個背景出現(xiàn)《斷了氣》；布烈松的聲“Camera”啟動了戈達(dá)爾的攝機(jī)……公認(rèn)，布烈松是影界的頭號識分子，不是因為他喜改編或引用著，主要是充滿哲思的影語言，禁卻誘人的畫使他的風(fēng)格當(dāng)內(nèi)省，寓深刻但含有盡詩意。他電影因此完避免了布努爾的嘲諷和格曼的苦澀他不作評價也不表同情凡人的過失不使他...
Rebels on Pointe is the first-ever, cinéma vérité documentary film celebrating Les Ballets Trockadero de Monte Carlo -- the all male, drag ballet company founded over 40 years ago on the heels of New Yorks Stonewall riots. The company has performed in over 500 cities and 33 countries, and has a cult following around the world. The film juxtaposes exclusive, behind-the-scenes access and intimate, character-driven stories of its dancers, highlighted by amazing performances shot around the world. Rebels on Pointe ultimately celebrates our shared humanity through universal themes of identity, dreams, family, love, loss, determination and resilience... proving that a ballerina is not merely a woman dancing, but an act of revolution in a tutu.
