影片记录了一个被称为Panyi的南部岛屿的风景，充满隐喻色彩。

影片记录了一个被称为Panyi的南部岛屿的风景，充满隐喻色彩。

“巴西新浪潮中最激进，最勇敢，最特别的一部先锋电影。"----- Caetano Veloso 　　"It is worth repeating that Hitler, Third World of 1968 is the most radical and extraordinary attempt at alternative cinema out of everything that has been tried in Brazil." (Caetano Veloso) 　　"Hitler, Third World is one of bravest films of our experimental cinema. It was not shown in public until 1984. Yet, it is a militanit film. It is a poetically political film. José Agrippino de Paula is not only a great filmmaker. He is one of the greatest, known independetit artists. He is a genial writer and a rernarkable man of the theater." (Jairo Ferreira) 　　We are in more than just Brazil. We are in the Third World. The comedian, Jo Soares, goes around a favela dressed up like a samuraí and mobbed by little kids. A judge wants to decapitate a very beautiful, nude young woman. A monster - a mutant that looks like The Thing - wanders around the city. We see soldiers torture studente in a hospital. Two Nazis try to use the same bathroom at the same time. Hilter receives a woman visitor. The samurai kills the Nazi. A student is castrated. The samurai tries many times to commit hara-kiri on the street. 　　José Agrippino de Paula, a writer, avant-garde film director, playwright from the 60s/70s, presently living in Embu/SP, receives a super-8 camera equal to one he used on his films. On the expectancy that he would film, his work is retrieved. At the meeting with Jorge Bodanzky, director of photography of “Hitler, Terceiro Mundo”( Hitler, Third World) a José Agrippino’s motion-picuture, it is portrayed an effervescent Brazilian moment.

这部影片被形容为一部“三个乐章的交响乐”，片中集合了几位有着不同国家、种族背景的角色。影片的故事发生在一艘地中海豪华邮轮上，游轮行经六处著名的欧洲神话故事遗址，其中包括埃及、巴勒斯坦、希腊、敖德萨、那不勒斯、巴塞罗那。来自世界各地不同文化背景、说着不同语言的乘客在这里相遇。主要角色包括一位来自莫斯科警察局的探长，一名出身背景不详、由孙女陪同的老战犯，一名上了年纪的法国警察，一位巴勒斯坦大使，一位前联合国女官员，一名间谍，以及法国哲学家阿兰·巴丢和美国“朋克教母”帕蒂·史密斯。

这部影片被形容为一部“三个乐章的交响乐”，片中集合了几位有着不同国家、种族背景的角色。影片的故事发生在一艘地中海豪华邮轮上，游轮行经六处著名的欧洲神话故事遗址，其中包括埃及、巴勒斯坦、希腊、敖德萨、那不勒斯、巴塞罗那。来自世界各地不同文化背景、说着不同语言的乘客在这里相遇。主要角色包括一位来自莫斯科警察局的探长，一名出身背景不详、由孙女陪同的老战犯，一名上了年纪的法国警察，一位巴勒斯坦大使，一位前联合国女官员，一名间谍，以及法国哲学家阿兰·巴丢和美国“朋克教母”帕蒂·史密斯。

五十年前的乌托邦幻梦，本是加以尖锐讽刺，今天回首却尽成唏嘘。原籍智利的大师级导演拉乌卢易兹，当年在左翼总统上台后，拍片批评新政府的理想主义不切实际，岂料军事政变走向独裁，作品未及完成，他本人亦流亡海外。在他辞世多年后，视频终于寻获，经抢救修复，由其遗孀兼创作伙伴完成剪接，令此作重现人间。糅合纪实与虚构，在历史洪流里保持清醒，在激昂呐喊中洞察困境。由两组故事交错而成，工人接管工厂，知识份子空言革命，结局预示终成泡影。

五十年前的乌托邦幻梦，本是加以尖锐讽刺，今天回首却尽成唏嘘。原籍智利的大师级导演拉乌卢易兹，当年在左翼总统上台后，拍片批评新政府的理想主义不切实际，岂料军事政变走向独裁，作品未及完成，他本人亦流亡海外。在他辞世多年后，视频终于寻获，经抢救修复，由其遗孀兼创作伙伴完成剪接，令此作重现人间。糅合纪实与虚构，在历史洪流里保持清醒，在激昂呐喊中洞察困境。由两组故事交错而成，工人接管工厂，知识份子空言革命，结局预示终成泡影。

For nearly two decades, John Gianvito has been carving out a unique space in American cinema with passion projects of expansive shape and political ambition, including The Mad Songs of Fernanda Hussein, a documentary-fiction inquiry into the human toll of the Gulf War, and Profit Motive and the Whispering Wind, a becalmed yet radical Howard Zinn–inspired reflection on American progressivism. In his new film, Gianvito meditates on a particular moment in early 20th-century history: when Helen Keller began speaking out passionately on behalf of progressive causes. Beginning in 1913, when, at age 32, Keller gave her first public talk before a general audience, Her Socialist Smile is constructed of onscreen text taken from Keller’s speeches, impressionistic images of nature, and newly recorded voiceover by poet Carolyn Forché. The film is a rousing reminder that Keller’s undaunted activism for labor rights, pacifism, and women’s suffrage was philosophically inseparable from her battles for the rights of the disabled.

http://www.btv.org/btvindex/jlp/node_45480.htm

http://www.btv.org/btvindex/jlp/node_45480.htm