剧情简介
1980法国短片《阿历克斯的照片》由让·厄斯塔什导演，Alix Clio-Roubaud主演，影片讲述的是：
Ostensibly an informal guided commentary through personal photographs taken by Alix Cléo Roubaud for a young interviewer Boris Eustache Jean Eustaches Les Photos dAlix ingeniously explores the nature of reality and perspective within the framework of documentary filmmaking This sense of trompe loeil is prefigured in an early double exposed photograph of Alixs husband novelist Jacques Roubaud taken from a London hotel room explaining that the duality had been intentionally developed in order to simulate an elongated profile that more appropriately conforms to the traditional notion of a Hollywood style bed a manipulation of image that is also illustrated in a subsequent photograph of an induced sunset created by selective masking Eustaches approach to the film similarly expounds on Alixs photographic experimentation juxtaposing the curious image of a smiling shirtless man seemingly disembodied below the rib cage against Alixs comical if askew anecdote on plying a friend with alcoholic beverages in order to look more relaxed as she takes his picture on a couch In another humorous episode Alix conveys the fond memories her father through what she describes as the most iconic image of him from her childhood revealing a shot of a drivers ear and receded hairline taken from the back of a car his face partially visible only through the reflection of the rearview mirror Soon the conversation grows even more puzzling as the young man apparently fails to recognize himself in a photograph Alix incongruously points out the admirable physicality of an unknown man who was accidentally captured on film as a naked overweight man stands on the side of the frame and her revelry on the coincidence of having two former romantic interests converging in the same shot is seemingly reduced to the banal image of a pair of worn boots As Alixs insights into her sources of inspiration and creative process become increasingly dissociated from the images Eustache illustrates the point of rupture between the visual and aural where filmed storytelling lies not in the symmetry of information but in its chance intersections and disjunctions
from strictly film school
Ostensibly an informal guided commentary through personal photographs taken by Alix Cléo Roubaud for a young interviewer Boris Eustache Jean Eustaches Les Photos dAlix ingeniously explores the nature of reality and perspective within the framework of documentary filmmaking This sense of trompe loeil is prefigured in an early double exposed photograph of Alixs husband novelist Jacques Roubaud taken from a London hotel room explaining that the duality had been intentionally developed in order to simulate an elongated profile that more appropriately conforms to the traditional notion of a Hollywood style bed a manipulation of image that is also illustrated in a subsequent photograph of an induced sunset created by selective masking Eustaches approach to the film similarly expounds on Alixs photographic experimentation juxtaposing the curious image of a smiling shirtless man seemingly disembodied below the rib cage against Alixs comical if askew anecdote on plying a friend with alcoholic beverages in order to look more relaxed as she takes his picture on a couch In another humorous episode Alix conveys the fond memories her father through what she describes as the most iconic image of him from her childhood revealing a shot of a drivers ear and receded hairline taken from the back of a car his face partially visible only through the reflection of the rearview mirror Soon the conversation grows even more puzzling as the young man apparently fails to recognize himself in a photograph Alix incongruously points out the admirable physicality of an unknown man who was accidentally captured on film as a naked overweight man stands on the side of the frame and her revelry on the coincidence of having two former romantic interests converging in the same shot is seemingly reduced to the banal image of a pair of worn boots As Alixs insights into her sources of inspiration and creative process become increasingly dissociated from the images Eustache illustrates the point of rupture between the visual and aural where filmed storytelling lies not in the symmetry of information but in its chance intersections and disjunctions
from strictly film school
