七月 Шильде (1988)

  • 导演: 达赫让·奥米尔巴耶夫
  • 类型: 短片
  • 制片国家/地区: 苏联
  • 语言: 哈薩克斯坦語,俄語
  • 片长: 25min
  • 又名: Shilde
  • 上映日期: 1988
  • imdb网址: tt0168909
  • 七月剧情简介
      Darezhan Omirbaev's penchant for spare, elliptical narrative, muted figures, and disembodied framing (most notably, of hands and feet) have often been (favorably) compared to the rigorous aesthetic of Robert Bresson. However, in imposing such a somber - and inescapably cerebral - analogy, there is also a propensity to overlook the wry, self-effacing humor and irony of situation that pervade his films: a lyricism that equally captures the human comedy in all its contradictions and nobility from the margins of Soviet society. This sense of the quotidian as a continuum of human experience, elegantly rendered in Omirbaev's recent film, The Road through Amir's recurring daydream of a mother milking a cow and her intrusive child (who, in turn, looks remarkably like Amir's own son) in rural Kazakhstan (an image that subsequently proves to be a catalytic historical memory from his childhood when man landed on the moon), can also be seen from the outset of Omirbaev's cinema through his incorporation of a decidedly Buñuelian sequence in the short film, July of a young boy who, while on the lookout for guards near the foothills of a kolkhoz commissary, curiously finds himself wandering into a recital hall where the performance of a young pianist is punctuated by the appearance of a horseman on the stage. Part pastoral observation on the pervasiveness of underdevelopment and the austerity of life in the rural villages of Soviet-era collective farms (and in particular, at the outlying frontiers of the Soviet Central Asia), and part autofiction on a pair of restless boys whose penchant for escapist (mis)adventures reveal a nascent, if displaced, creative sensibility, July establishes the aesthetic framework that would come to define Omirbaev's cinema: the overture of first love depicted through seemingly innocent - yet deliberate - passing touches (the bus encounter in Kaïrat, the movie house flirtation in July); the frustration of isolation inherent in a rural childhood manifested through acts of mischief (the opening sequence of Kaïrat, the courtyard fight of Kardiogramma), the subconscious act of self-reflection illustrated through literal self-reflection through the reflected image of a rear view mirror (Marat's drive home from the hospital in Killer, Amir's extended road trip to visit his ailing mother in The Road). Inevitably, what proves to be the most remarkable - and irresistible - aspect of Omirbaev's deceptively simple coming of age film is its ability to capture the interpenetration between reality and fiction interpenetrate with such seemingly effortless, uninhibited intimacy - a wide eyed innocence that hovers in the ephemeral - ever teetering between solemnity and absurdity, boredom and roguishness, anxiety and imagination.

    标签:  短片 苏联 哈萨克斯坦 俄罗斯电影 1980s 俄罗斯 DarezhanOmirbayev 1988
    剧照图片(海报、截图)
    下载地址
    七月评论、影评、观后感
    陆支羽  2011-09-09
    努力踮起脚尖,却得钱无果。童年就是这样被玷污的。
    瑋  2009-11-11
    发呆,看戏,暧昧,偷窃,贩卖,失神。
    [已注销]  2011-01-08
    暑假的一个下午,看了电影、骑了车、偷了瓜、做了梦、失了钱、挨了骂,好像做过许多事,其实什么也没做,而天很快又黑下来。
    lhansss  2011-05-12
    一切简单,一切纯真