马赛

The first movie of the "Berliner Schule" ("La Nouvelle Vague Allemande" Cahiers Du Cinema) that gained international recognition with it being screened in the "Un certain regard"-section of Cannes Film Festival 2004.


　　After the very sparse white on black of the opening credits we see the back of Sophie's head. She's in a car, she speaks awkward French, the woman who drives gets out, gets her a map, of Marseille. We learn, very soon, that they are exchanging apartments, the other woman, her name, we learn later, is Zelda, will go to Berlin and Sophie will stay, for a few weeks, in Marseille. Zelda says: Guten Tag, Auf Wiedersehen, Mein Freund, der Baum, ist tot - the latter phrase being a German song by a German singer who died young. Zelda disappears, Sophie stays. Zelda very literally disappears because there won't be a trace of her when Sophie will return to Berlin. The Marseille apartment, empty, unlived in as it is, will have been a gift, something inexplicably given in a film that ends with something - almost a life - taken.


　　Sophie, for the first third of the film, is in Marseille. She walks around, she takes pictures. She looks at the pictures, she moves without a direction, the camera is with her, sometimes distant, sometimes following her closely. Sophie is a stranger in a strange world, she sometimes seems cut off from her surroundings. We hear sounds, we see her face but the background is blurred. She does not seem unhappy, she does not seem happy. She does not talk much and she always thinks for a long time when she is asked. In the end she will be asked what it is she photographs. She will think for half a minute (or perhaps she does not think, but simply refuses to answer, to herself, to the policeman who asks) and then she says: The streets.


　　We do not know much of her and we do not learn much of her in these minutes we spend in Marseille, walking around with her. She meets a young man from a garage, who lends her his car, she drives around, which we don't see. There is a lot we don't see - although it takes some time to realize how much. She meets the young man in a bar, they drink, a friend arrives who insults Sophie, for no reason. Sophie and Pierre, the young man, walk up in a street that is lit in brownish golden light and they sleep with each other, which we don't see (and, really, don't know). The next night they dance.


　　One very sharp cut later Sophie is back in Berlin, she is approached by a young woman who returns a cap to her, a cap she has left in a McDonald's restaurant before she went to Marseille. There is more she has left, or rather: she has run away from. (At least this is what can - but does not have to be - inferred.) There is Ivan, a photographer she might be in love with. There is Hanna, an actress, Ivan's girl friend, their son Anton. We learn more about Ivan, we learn more about Hanna. We see Ivan taking pictures of women workers in a factory, without an explanation. We just see and watch. We watch the women from a sidewards angle, then we watch Ivan taking the pictures, then we watch the woman from Ivan's perspective. They talk, but not much. We just hear and see and watch. There is a lot we see - although it takes some time to realize how much. We are left with these images. They remain unexplained and they don't explain what we see. "Marseille" has a bewildering structure, switching from the elliptical cut (shocking, really) to the insistent gaze (frustrating first, but amazing after all).


　　For ten minutes, at least, we watch a rehearsal. Hanna plays a minor role in a Strindberg play. The same scene is rehearsed three times. We watch the man talking to the woman in an aggressive Strindberg way and we see Hanna entering the stage. Then the camera moves to the left and we watch the woman answering to the man in an aggressive Strindberg way. This time we don't see Hanna entering the stage. When leaving she makes a mistake, she adds a word that does not belong in her line. We see her then off stage, cowering. Hanna is not happy. She is not happy with David, she suffers from unexplainable pain. We do not learn much more about her. Sophie is out of sight for quite some time. We start doubting if this is really her story we are told. Oh yes, it is, but Schanelec refuses to follow her and her story in linear fashion. Ivan's taking of pictures, Hanna's rehearsal become important, not so much as explanations for their behaviour, just as the parts of their lives Schanelec has decided to follow.


　　Sophie then returns to Marseille and after the most daring ellipsis we see her at a police station, in a yellow dress. She sits, then she talks, then she does not talk for half a minute. She is asked what it is she photographs. The streets, she says after what seems a very long time. She cries. We see her on a sidewalk, the camera moving parallel to her. She crosses the street, the camera remains on the sidewalk, Sophie is moving away from it. Then she stops and the camera stops. She enters the German consulate. In Schanelec's (and cinematographer Reinhold Vorschneider's) films you see the most intelligent and subtle travellings imaginable - and even mor effective as they starkly contrast with a lot of very long, very static takes that just make you watch and see.


　　"Marseille" ends with a series of takes on the beach. It is getting dark, the streetlamps are switched on. We see Sophie in her yellow dress, distant, moving, we see the sea and there is a strange kind of consolation in this image of the dress, Sophie, the sea.

第57届戛纳电影节一种关注单元 一种关注大奖(提名)安格拉·夏娜莱克

她的疏离不是因为怀旧，也不是因为失去或达不到理想而产生的消极反应，而是积极地期望找到尚未找到的：一种新鲜的感情储备。而在马赛，另一种语言所代表的另一种存在方式使得反思旧我导致的焦躁不安迎来了疏解。看了几部柏林学派美学最合口味的一部，自然展现的情绪语言，精致构图打造的视觉纵深感，健康的、科学的、实证调查般的创作逻辑。

夏娜莱克的构图与调度重在一个场景里的光影复杂与灵动，每一个镜头都有细细碎碎的各种光，为每一个简单的场景增加了视野深度，让我移不开眼。结构上看似松散无逻辑，其实是很规整的女性成长轨迹：一个女人逃离平庸开始独自的旅途，新鲜陌生加一点点熟悉，挺无聊但感觉挺好的；回到自己的生活就是旁观身边朋友的琐碎日常，自己随时要被卷进去，大部分不快乐夹杂一点平实的安慰；然后这个女人想着，那我就还是推自己一把继续去追求一下看起来不错的悠闲美好生活，这个时候政治与社会重击咣当一下砸下来得措手不及让她一脸懵逼，那又能怎么办？继续踩着细碎的阳光走回住所，晚上到海边去散步。夏娜莱克的女性主义非常模糊个体与整体的界限，也非常low key.

鲜明的学院风格，讲究布景和写意，背景音的极简、固定镜头和运镜的相对运动；在片后QA中导演Angela Schanelec对本片也提到了两个细节，重返马赛是她在电影拍摄前数年便设计的剧情结局，意为让独身的女人面对未知的世界；她作品中常有的片名以地名命名，从个人而言，马赛对她而言只是有一段在马赛的不愉快的短暂童年回忆

德国女文青焦虑片 比较慢很松散 算是导演风格了

人游荡在城市里需要目的吗？迷失马赛（前半段）拍得特别有趣，她游荡于城市中，几乎毫无交流，拍摄照片也看不出什么意思，只有酒吧里，她熟悉的生活习惯开始，她开始爱上这里。回到德国后，影片反倒讲她朋友的故事，这里更多呈现是现在德国社会里所特有的问题，就在无法用言语交流和有效沟通之际，脑里依恋逃离这里的想法又呈现出来。于是接下来逃离德国奔去马赛寻找这份感觉过渡特别顺滑。反倒发生非常有戏剧性一幕，在德语和法语混在的警察局里，她真正自我在之前就被打碎了，这里并没有拍摄过于激烈内容，全靠讲述替代，看的出那份惊慌后的样子，她自此陷入更深的迷失。结尾法国海边内容完全毫无意义，却又带着比她照片更深层的情感溶于海中久久不能褪去。

Schanelec电影通常难以完全复原人物关系与事件联系，大都明显地露着裂缝，本片最大的两处跳进便刚好发生在离开马赛与重回马赛之时。一个借由法语到德语的语言变化，完成时空的突换；一个从街道到警局，后置了强情节的激变。非常特别，我们不止会看到毫无目标的Sophie反复从画面中消失（于街道/人流/车流），甚至在中段接近三分之一的时间她从电影中彻底消失了，取而代之的是朋友夫妇毫无关联的工作片段（Hanna排练的话剧是斯特林堡的《死亡之舞》）。于是，前段是我无法进入他人生活，后段是他人生活与我无关，太孤独了。尽管全片如此多的时间里，我们陪着Sophie在公寓、街道、商场、酒吧、咖啡厅、巴士、地铁上打发时间，用相机捕捉马赛景观，最终仍然却一无所获，甚至自身都在街头事件中被夺走了，多么挫败。

柏林学派早期作品。关于孤独、欲望、亲密感和交流（的困境）。每个场景几乎都有精密的构图和场面调度。叙事简约反而凸显了向内的情感和整体的气氛。

夏娜莱克关于一座理想之城如何在幻想中垮塌的故事因为切面过于狭小而显得有些营养不足。孤独感是很难展现的，而在这里它失掉了一些在她别的作品里突出的宁静力量。不过她对电影的理解倒的确是走布列松一路的，在马赛和柏林直接突兀的转换、很多场景优雅的调度都令人想起他。

为什么要看这么闷的剧情片。。。除了马赛人 魁北克人和科西嘉人的口音很好笑之外 真是没有什么亮点

当对自己行动中非理性成分的承认远多于实际存在的非理性并对其赞赏的时候，这种承认就可以被称之为矫情。。。

2.5星,支离破碎，导演试图想表达些什么可结果什么也没表达，催眠片。

前半段还蛮好看的，后面怎么看的有些糊涂。。。