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詹姆斯·麦卡沃伊、艾丽西亚·维坎德加盟的爱情片《淹没》将于三月开机，导演维姆·文德斯。故事围绕女科学家丹妮尔与英国商人詹姆斯的爱情故事展开。詹姆斯因被伊斯兰圣战分子囚禁，与丹妮尔远隔千里，两人的爱情面临生与死的考验。Embankment公司将在2月开展的欧洲电影交易市场上对本片进行预售。黑金高墙第一季这座城第一季狂喜2023大篷车杨贵妃电影版隐蔽之美：孕育地球的爱的故事窥情神探阿蒙第三季星际旅行3：石破天惊最佳福星八卦拳之武林争霸最危险游戏波尔达克 第二季江湖探案传奇咱们分手吧致青春圆月映花都罗布奥特曼剧场版：决定了！羁绊的水晶夏日不宜入爱河八仙后传之国舅探亲千古一帝信使2019阿卡普高直击弯心欲望歌手半之半夜色中的地球第一季TOP LEAGUE合约情人急冻风暴破胆三次2再生记绝杀秘恋惊魂鱼缸十三号仓库第五季弗兰克2014胜女的代价零度动物园
詹姆斯·麦卡沃伊、艾丽西亚·维坎德加盟的爱情片《淹没》将于三月开机，导演维姆·文德斯。故事围绕女科学家丹妮尔与英国商人詹姆斯的爱情故事展开。詹姆斯因被伊斯兰圣战分子囚禁，与丹妮尔远隔千里，两人的爱情面临生与死的考验。Embankment公司将在2月开展的欧洲电影交易市场上对本片进行预售。黑金高墙第一季这座城第一季狂喜2023大篷车杨贵妃电影版隐蔽之美：孕育地球的爱的故事窥情神探阿蒙第三季星际旅行3：石破天惊最佳福星八卦拳之武林争霸最危险游戏波尔达克 第二季江湖探案传奇咱们分手吧致青春圆月映花都罗布奥特曼剧场版：决定了！羁绊的水晶夏日不宜入爱河八仙后传之国舅探亲千古一帝信使2019阿卡普高直击弯心欲望歌手半之半夜色中的地球第一季TOP LEAGUE合约情人急冻风暴破胆三次2再生记绝杀秘恋惊魂鱼缸十三号仓库第五季弗兰克2014胜女的代价零度动物园
长篇影评
1 ) 2002年拍摄的
怎么说呢, 只能说 太真实了. 比沿江而上真实. 真实的让你感受到人性在利益面前是如何扭曲的, 是如何被淹没的. 其中反应了的问题在当今非常之普遍, 是现在拆迁的前奏. 怎么说呢, 现代社会的总总阴暗面归根结底都会回到体制上, 一个200万人的县城的拆迁, 搬去哪里, 是县委会的一句话. 根本没有规划, 没有计划, 连水电都没有, 让人搬家去住. 所谓的基督教徒的家人根本就不理解什么是教义, 什么是信仰, 藉由过世人的信仰来骗取钱财. 人在利益前太渺小了. 最底层人的生活的艰难, 为了糊口, 甚至失去生命. 当看见垃圾 看见污水, 我还提出了问题, 就是 难道这些都沉在长江底么, 难怪长江现在如此浑浊, 而且, 这长江水要怎么喝? 长江要经过多久才能够恢复自我的生态系统?
我特别能够体会到导演自己说的那句, 我自己最初的那些感受, 那些文艺, 那些悟性, 被长江水淹没了. 在那里待了11个月, 经历了县城的消逝, 绝对是人生中的一次影响深远的过程. 导演应该会感谢这次体验,或者说觉得这次的体验很值得.
为什么没在国内上映, 不知道为什么. 难道是太底层了? 呵呵, 中国的现代化, 老百姓买单.
我特别能够体会到导演自己说的那句, 我自己最初的那些感受, 那些文艺, 那些悟性, 被长江水淹没了. 在那里待了11个月, 经历了县城的消逝, 绝对是人生中的一次影响深远的过程. 导演应该会感谢这次体验,或者说觉得这次的体验很值得.
为什么没在国内上映, 不知道为什么. 难道是太底层了? 呵呵, 中国的现代化, 老百姓买单.
2 ) 06.10.14宋庄观感
一个城市被河水淹没，居住多年的房子即将拆迁，人们应该如何面对？《淹没》纪录了这种焦虑，包括人们为了自己所在团体如何争取利益，对补偿金不满时如何在断水断电情况下坚持自己的初衷，甚至不惜在街头拉扯；老红军在拆迁办求助无门，而街头闲谈，也始终围绕房子这个话题打转，人们在面对社会巨大变迁时的心态变化历程，全在里面表现得淋漓尽致。李一凡在放映后的回答时谈到，当时他就是想拍改革开放发展十年来，人们的心理历程、价值观的变化，而恰好有三峡工程这么一个强烈的背景，原本至少要花十年才能拍到的东西，他们在奉节呆了11个月就完成了。这是一次非常好的机遇，而他们恰好捕捉到了，包括影片开头时人们原本的日常生活场景，政府机关里的民众的争执，以及后来拆迁楼房爆破等场面，完整的撑起了片子的骨架，使之言之有物。这是一部胸有成竹的片子，从影片的节奏、分镜头等看得出他们在剪辑方面下了很大功夫。
有人问到为什么被摄者怎么会同意公开那些较有冲突的场面，李一凡回答说，那是因为都觉得自己问心无愧，是为公家做事，包括在财务上做两本帐。但他们把一些稍微涉及隐私的场面都放弃了，保留下来的，就是被摄者愿意公开的。
有人问到为什么被摄者怎么会同意公开那些较有冲突的场面，李一凡回答说，那是因为都觉得自己问心无愧，是为公家做事，包括在财务上做两本帐。但他们把一些稍微涉及隐私的场面都放弃了，保留下来的，就是被摄者愿意公开的。
3 ) Before the Flood
Before the Flood, which is the most problematic documentary film so far, is indeed a film that seems like it wants to provide the raw material of daily life in the town of Fengjie before it was flooded. Honestly, it is not a readable and pleasurable film from an audience perspective. However, to criticize the film is not the main purpose of this article. Here, I would like to talk about the experimental structure, the organized content, and the complementary relationship between the director and the audiences.
As a verité-style documentary film, the director faithfully documented the residences of a thousand year old town that were forced to relocate from their hometown in order to make way for China’s greatest project, the Three Gorges Dam. This documentary film records local citizens who are not content with the local government’s bureaucratic mismanagement. The ancient town is going to be submerged in several months; everyone shows their anxiety, unhappiness, and dissatisfaction regarding the government’s evacuation policy, including unequal compensation, an unfair lottery for apartments, and a complicated beneficial relationship during the relocation process. All of them play a victim-witness double role in the film.
The opening and closing parts of this film are very poetic to some extent. The opening part starts with Libai’s poetry, Early Departure From Baidi Town. However, after this flood, all of the spectacular scenes will disappear forever. Here, Libai’s poetry depicts the natural views to the readers. At the end of the film, the most impressive shots are the explosion scenes. Having witnessed the collapse of the city, the dense smoke rapidly moves toward the camera and then devours the entire screen. This part is also very poetic to some extent. But it is a poetic collapse. The poetic feeling, no matter if it is the natural scenes depicted by the intellectuals, or the accumulated poetic human civilization left by our ancestors, will be soon destroyed. Another shot is the collapse of the church’s wall, after haggling and deceiving; the people finally dismantle the church. This story also symbolically and metaphorically shows the loss of the faith. The whole dislocation process is a trade between the citizens and the government, between the past and the future, between tradition and modernity, between the individual’s benefits with Chinese collectivism. Before the flood depicts different individual citizens of the town. Especially Xiang Haiyu, who joined the army during the Korean War and owned a hostel in Fengjie. He tries to best find a new place for himself and his wife, as well as his shabby hostel. When the camera follows him climbing up, down and under the bridge in New Fengjie, I felt a pain in my heart. The pain reached its climax when Xiang wept in front of the lens.
In this film, the director requests that the audience play an active role in the film instead of responding negatively. The director seems to want to make the film tedious and verbalized to some extent, and one question that often occurs to the audience is, why does the director made such a huge effort on documenting. Nevertheless, it is still a film that presents the reality of the past time. Bill Nichols divides documentary films into six modes: Poetic, Expository, Observational, Participatory, Reflexive, and the Performative mode. This film belongs in the category of observational mode. The opening long sequence shows the camera moving freely in order to follow the daily life of labor workers who used a large plastic bucket to carry fishes from port to the market. The camera faithfully records what happens. It ostensibly give the audiences the impression of recording the ongoing process of this event faithfully, but in my opinion, the director already picked the scenes according to his taste. The contemporary film that we watched this semester shares a similar feature. Most of which demands the audiences’ participation. “The filmmaker’s retirement to the position of observer calls on the viewer to take a more active role in determining the significance of what is said and done.” (Nichols, 111) The whole film follows an informative logic: to tell the audiences the truth. As indicated by the director, Li Yifan, “use a simple constructed way to criticize and refute an elite’s interpretation.” He did not impose any ideological conclusion on this event but provides the audience with a terrific feeling, and an overwhelming display of humanity and morality, which is echoed in the title of the film.
Works Cited
Bill Noichols. Introduction to Documentary. Bloomington: Indiana University Press. 2001. Print.
As a verité-style documentary film, the director faithfully documented the residences of a thousand year old town that were forced to relocate from their hometown in order to make way for China’s greatest project, the Three Gorges Dam. This documentary film records local citizens who are not content with the local government’s bureaucratic mismanagement. The ancient town is going to be submerged in several months; everyone shows their anxiety, unhappiness, and dissatisfaction regarding the government’s evacuation policy, including unequal compensation, an unfair lottery for apartments, and a complicated beneficial relationship during the relocation process. All of them play a victim-witness double role in the film.
The opening and closing parts of this film are very poetic to some extent. The opening part starts with Libai’s poetry, Early Departure From Baidi Town. However, after this flood, all of the spectacular scenes will disappear forever. Here, Libai’s poetry depicts the natural views to the readers. At the end of the film, the most impressive shots are the explosion scenes. Having witnessed the collapse of the city, the dense smoke rapidly moves toward the camera and then devours the entire screen. This part is also very poetic to some extent. But it is a poetic collapse. The poetic feeling, no matter if it is the natural scenes depicted by the intellectuals, or the accumulated poetic human civilization left by our ancestors, will be soon destroyed. Another shot is the collapse of the church’s wall, after haggling and deceiving; the people finally dismantle the church. This story also symbolically and metaphorically shows the loss of the faith. The whole dislocation process is a trade between the citizens and the government, between the past and the future, between tradition and modernity, between the individual’s benefits with Chinese collectivism. Before the flood depicts different individual citizens of the town. Especially Xiang Haiyu, who joined the army during the Korean War and owned a hostel in Fengjie. He tries to best find a new place for himself and his wife, as well as his shabby hostel. When the camera follows him climbing up, down and under the bridge in New Fengjie, I felt a pain in my heart. The pain reached its climax when Xiang wept in front of the lens.
In this film, the director requests that the audience play an active role in the film instead of responding negatively. The director seems to want to make the film tedious and verbalized to some extent, and one question that often occurs to the audience is, why does the director made such a huge effort on documenting. Nevertheless, it is still a film that presents the reality of the past time. Bill Nichols divides documentary films into six modes: Poetic, Expository, Observational, Participatory, Reflexive, and the Performative mode. This film belongs in the category of observational mode. The opening long sequence shows the camera moving freely in order to follow the daily life of labor workers who used a large plastic bucket to carry fishes from port to the market. The camera faithfully records what happens. It ostensibly give the audiences the impression of recording the ongoing process of this event faithfully, but in my opinion, the director already picked the scenes according to his taste. The contemporary film that we watched this semester shares a similar feature. Most of which demands the audiences’ participation. “The filmmaker’s retirement to the position of observer calls on the viewer to take a more active role in determining the significance of what is said and done.” (Nichols, 111) The whole film follows an informative logic: to tell the audiences the truth. As indicated by the director, Li Yifan, “use a simple constructed way to criticize and refute an elite’s interpretation.” He did not impose any ideological conclusion on this event but provides the audience with a terrific feeling, and an overwhelming display of humanity and morality, which is echoed in the title of the film.
Works Cited
Bill Noichols. Introduction to Documentary. Bloomington: Indiana University Press. 2001. Print.
4 ) 三峡故事
一直在想这样一部纪录片该以怎样的方式结束，结局果然是预料中的连续爆破，大楼轰然成粉尘，城市淹没成废墟，时间尘封成历史。 众生群像。 街道，集市，饭馆，码头，教堂，会场，爆破现场，水手，棒棒，餐馆老板，房东，老年夫妻，婚礼，中年夫妇与病瘫母亲，爷孙，官员，商人...这影像像被切割了最多面数的钻石，时间透在面中闪烁。
人们争执不休，多数时间方言听得人头痛欲裂，拆迁，拆，骂，围绕拆迁的争吵，组织行为与被惊起的居民，城市已死，死亡的推进者，与食腐的尸体本身，惊惶出逃的血肉，到最后光秃秃的骨架袒露成废墟。
远足寻找暂居处的老者，归途扭了脚被老伴抱怨，说着说着开始抹泪，自己没出息没有给她一个好的归宿，再想起他出门前为了几块钱的盘缠被老伴甩脸色，贫而爱的夫妻。另一段的一场婚礼，丈夫背着穿婚纱的妻子，纷杂的场景里一对新人显得茫然，他们还未意识到这婚姻的意义。教堂拆迁过程里的神职人员，信众，与商人，都随着教堂牌匾的倒塌烟消云散。触动的情节太多太多。
作为一个有大江情节的北方人，自江城起就对三峡移民感到着迷，自今终于看到了影像，这原本是因某幺而起了兴致的“重庆印象”系列观影下载的影片，如今看来倒是圆我两心愿了。
片尾以破败的拆迁现场为背景，担着酒桶的人沿途叫卖着，谁要酒啊谁要酒啊，倒是这一片废墟里燃起的新的生机了。
有机会的话很希望去三峡看一看，有淹没，那么必有新生。想在新生的城市里走一走，带着对沉寂水底的历史的怀念。
（我只是想写个短评......）
5 ) 《淹没》电驴下载
6 ) 被淹没的
李一凡导演的《淹没》，看了心情久久不能平复，带有人文关怀的镜头，去记录三峡拆迁工程下一个小镇的一些人与事。没有特定的剧情，没有解说，一切让镜头说话，但是导演的人文关怀又无处不在。观影的过程中我一直在思考以发展为目标的牺牲是否具有合理性，被牺牲被拆迁的群众的声音以集体的利益被淹没了，而当时的媒体却很难听到他们的声音。后来导演的分享特别棒，提到了整个社会审美的变化，才能让这一珍贵的影像资料在当时得以实现。还有现在大家提到的拆迁，似乎是一种暴富的机会，然而现在这种合理的补偿也是因为有人在关注有人在发声有人在努力，不是自然而然就是这样的，但是这个过程也被淹没了。其实现在被淹没的现象还是很多很多，但是换了一种形式，大家不易察觉而已。导演也坦诚，现在拍摄和呈现的形式比之前更难了。反思永远是必要的，大众的健忘也无可避免，最重要的是要有人在关注有人在纪录有人在提醒。感谢李一凡导演的纪录。
唉，红水淹蝼蚁😢
http://www.56.com/u75/v_NTY3MzQ3NDI.html 上 http://www.56.com/u12/v_NTY3MzQ4Nzk.html 下
如果说《秉爱》是关于三峡移民的最佳个体范本，那么《淹没》则是影像中最好的三峡移民的画卷。
拆迁的最高境界就是拆迁整个县城，这个事件足以记入人类历史。千年古城就这么没了，“工科治国”的典型病殇。这部纪录片的文献价值高，但纪录的视野过大不好拍，相对松散，观影效果一般。
两位导演太贪，拍八十分钟讲清楚教堂一件事就足够了，而且更显诚意，这么拍直接沦为获奖定制作品，百姓聊赖处，又见周星驰。
11.28李一凡作品展# 在观看本片之前，以为本片是具有《巫山云雨》、《三峡好人》精神内核的一部纪录片，但看完之后，发现与想象中的完全不同。李一凡导演的镜头里丝毫不含其他导演着重笔墨的男女情爱，甚至刻意淡化了许多故土情结。转而用直接电影的方式，将镜头对准了县城拆迁的过程，直言不讳的谈到三峡工程割了三峡人民的韭菜，“舍小家为大家”，阶级的矛盾异常锐利，宗教和几千年来坚守的故土因一纸条例变成了商品，随意贱卖，人民搬迁时的生活得不到保障，强拆强卖没有任何人敢反抗，毫无人情可言。政府让三峡的人民搬迁了，但三峡的地域文化呢，为了国家的发展是好，但也需要尊重每一个人选择的权利。毫无底线的去破坏，用政治条例去“淹没”，这样的发展到底是弊大于利的。8.3
好野生的纪录片，堵上水管剪断电线炸掉楼房
对于一个奉节人来说，他们说的每一句话和情绪清楚得就像我是在现场，他们开会就像小时候村里开会修公路因为要毁某家田地而吵架一样。他们说的脏话我小学就全会。街道屋子整体呈现出来的灰暗色调是生活的底色，看完再点开剧照有一种我是不是看了黑白片的错觉。小学毕业第一次进奉节新城上初中，那时老城已经被淹，轮渡还在。地理老师给我们放过《三峡好人》，至今还记得主角赶摩的时讲价的场景，班上同学说起以前老城的青石板街道，（弹幕飞过说现在做梦有时都还是老城的场景），讨论电影里那个起飞的奇怪建筑，会心捕捉里面奉节人说的话。《朝辞白帝城》小学就读，背诵，奉节相关。《登高》高中背诵，奉节相关，当时我们是作为区县班在重庆读的高中，上课到登高，语文老师特别一讲，讲杜甫当时处境，身体状况，颔联之好，想想还是有些感动的。
百分之百理解导演想尽量多保留影像信息的想法。在漫漫江岸的对立之间，在永远正确永远理性的口号之下，匆忙的慌乱的失控的被驱逐的生存实质，才是我们对抗自然对抗权力的唯一方式。我们珍贵的时刻都注定不会被记录，而人类也永远在做错的选择。X放映@77文创
很简朴的纪录片，就是把素材整理一下接到一起，但因为题材过于特殊，实在是万分珍贵。几个典型人物也找的很准确，几十万人虽然没被长江淹没，但他们的根永远随着奉节消失了。最后大楼坍塌滚滚浓烟向画面袭来实在震撼，每看这种片子，就觉得中国人命太苦、太贱了。跟抖音跟现在的影视作品完全是两个世界，你也不知道哪些是真的哪些是假的，魔幻。
朝辞白帝彩云间。平静的叙述，一切围绕钱来展开。能够理解，不过，还是觉得把素材再剪一剪更好些……吧
第二次看，依旧震撼不已。三条线：一个“2元男子宿舍”；一个县城天主教堂；一个即将被搬迁的村镇；再加上现场获得的众多万象素材，构成了最有力的三峡影像史。真希望李一凡再去关注他们，那些在异地他乡，那些后来回迁的移民。
再次对国产作品宽容，“有总比没有好”加上一星，以后就不重复自己的评分标准了
洪水将至。
经历过三峡移民的觉得没拍到很多更加细致的实处，但已经是够珍贵的纪录了。其实能想到的还有包括同样被搬迁的死者，学生要为学校的搬迁交更高的学费等等，以及一些到了新县城后产生的新的阶级的分化，还有那些始终都未能搬迁成功的消失的人。去年回小县城的时候发现已经在开展关于三峡移民的纪念工作了，一些被纪录的被塑成的东西已经出现，当时觉得很恍惚，我这个年纪大概是还对那两千多年的旧城还有印象的最后一代，三峡移民的血泪对于更年轻的人来说已经成了传说。想了想，那几年是真的跌宕起伏，从直辖/洪灾/下岗/移民/非典，到本地四起的贪污传言与不断被戳破的谎言，以及到私人的家庭的境遇，整个从大家到小家都是极其不稳定的。以及和1428类似的，新闻里的/看到的，终究是两回事，最后救人的还是人自己。
反映四川奉节的三峡工程拆迁，本来是非常好的一个主题，却被导演支离破碎的剪辑和冗长重复的素材堆砌严重削弱了表现力和感染力。印象最深的是上千移民在江边大打麻将的场景，无论遭遇多少苦厄和变故，生活还要继续，百姓仍然知足。
09年去奉节玩，发现他们的县城是沿着山，一层层向上的，越往上面越现代。这现代是碾在下面建起来的。
导演很巧妙地把这种环境里的人性展露了出来, 虽然一开始对他的解说有点反感.
最后总结的挺好，国家主导的高效率高利益的现代化浪潮把积淀千年的历史精神心理迅速淹没，留下一个宽阔宏大崭新的地理新坐标让人们去填充。
旅店老板和妻子开着玩笑，而后相视无言落泪的场景成为了今年最打动我的一个镜头，“哄小孩子也知道给点糖吧，你糖都不给，还指着打，我们想发声，你还让我们闭嘴”