Style是以描述时尚界的华丽职业的世界中隐藏的人类欲望的同名小说为原著,述说主角们的工作和爱情,服装界的激烈竞争,公司内权力关系等

Style是以描述时尚界的华丽职业的世界中隐藏的人类欲望的同名小说为原著,述说主角们的工作和爱情,服装界的激烈竞争,公司内权力关系等

Young Terry Lambert returns home from serving a prison term for a gang-rape he was forced to participate in. He seeks revenge on his lawyer and the girl who framed him. But his real problem is his overbearing mother, whose boarding house he resides in and who keeps bringing him glasses of...

Young Terry Lambert returns home from serving a prison term for a gang-rape he was forced to participate in. He seeks revenge on his lawyer and the girl who framed him. But his real problem is his overbearing mother, whose boarding house he resides in and who keeps bringing him glasses of...

"Das Kino und der Tod/Cinema and Death"(1988), is one of his 'Cinema Anthology' ,which was made by extraordinary Bitomsky's voice and movement of his hands that turn over photos of murder in films.It's 'a film noir as a film essay which analyzes film noir'. When he analyzes classic films like Hitchkock's "Torn Curtain",Lang's "Hangmen also die", Siegel's "The Killers",Aldrich's "Kiss me deadly",etc, each viewer tries to remake the images that always becomes uncertain in the memory,with the movement of Bitomsky's hands and voice as a detective showing photos of evidence of murders. There is an astonishing moment of new discovery of the image which we remember as a movement of the film.

"Das Kino und der Tod/Cinema and Death"(1988), is one of his 'Cinema Anthology' ,which was made by extraordinary Bitomsky's voice and movement of his hands that turn over photos of murder in films.It's 'a film noir as a film essay which analyzes film noir'. When he analyzes classic films like Hitchkock's "Torn Curtain",Lang's "Hangmen also die", Siegel's "The Killers",Aldrich's "Kiss me deadly",etc, each viewer tries to remake the images that always becomes uncertain in the memory,with the movement of Bitomsky's hands and voice as a detective showing photos of evidence of murders. There is an astonishing moment of new discovery of the image which we remember as a movement of the film.

“Essay, a term from written literature: unity of science and art; unity of social and individual knowledge,” Harun Farocki wrote in a first draft of the project Erzählen. The film follows two people (played by Engström and Farocki) investigating their respective subjects: one is tracing the involvement of the German heavy industry in the rise of Nazi-Germany, the other is interested in the fate of Larissa Reissner, a young Soviet writer and revolutionary. Both of them struggle with the question of how to organize their research and find a narrative structure. Their paths cross, and the film turns into an essayistic interrogation of structuralist narratology.

“Essay, a term from written literature: unity of science and art; unity of social and individual knowledge,” Harun Farocki wrote in a first draft of the project Erzählen. The film follows two people (played by Engström and Farocki) investigating their respective subjects: one is tracing the involvement of the German heavy industry in the rise of Nazi-Germany, the other is interested in the fate of Larissa Reissner, a young Soviet writer and revolutionary. Both of them struggle with the question of how to organize their research and find a narrative structure. Their paths cross, and the film turns into an essayistic interrogation of structuralist narratology.

《黑色电影与电影黑色》是一部按时间顺序拼贴的作品，它挪用了那些来自所谓的经典好莱坞时代的大量影像——也就是在1950年代，法国评论家称之为“黑色电影”的作品，这个特殊的类型，被认为是20世纪人类心理史及战争史黑暗景观的表征。这部拼贴作品涵盖了从美国1940年代早期到1950年代后期横跨20年、近310部黑色电影，同时也采用了一些其他国家的黑色电影。它将黑色电影们化作自己的“操作领域”，重现于当代语境，并以极具破坏力的剪辑再创造，与历史上的黑色电影交相辉映形成了一次闭环，像一只在历史和欲望的门槛上游荡的“衔尾蛇”，那可见和不可见的光与影的交织令我们沉迷。

A montage of still and moving images, mixing and alternating black people and white people, fantasy and reality, a presidential suite and a mother’s kitchen: a sensitive, poetic evocation in the manner of the film-maker’s Remembrance. Brilliantly colored and nostalgic, it comprises a magical transformation of painterly collage and still photographic sensibility into filmic time and space.