在这部猎人剧情片中,1976年寒冷的冬天，希腊一个城市的权贵们举行狩猎，他们在白雪覆盖的深山里发现了一具保存完好的希腊国内战争期间游击队员的尸体，他们将他抬回了正在举行的节日晚会，然后，围绕着尸体仪式般举行着活动，以每个权贵口述往事来反映希腊1949-1977年的历史，引出了个人对于这段历史的不同见解，影片具有超现实主义的特点，虚构和真实在狂欢的气氛里变得如同戏剧场景，片中穿插了大量歌舞的场景来表现大人物对死亡的无动于衷，影片最后以他们将尸体送回雪原结束。
It is New Year's Eve. 1976. On a Greek island a party of bourgeois hunters comes upon a body, buried in the snow and miraculously preserved by the cold. By his uniform, he appears to be one of the thousands of partisans killed during the civil war and the hunting party, a group of the ruling elite, must now decide what to do with the body. When they disinter it, blood begins to flow from the wounds in the partisan's body and they carry it back to the lodge where the inquest begins. The film becomes a biting commentary, an extraordinary allegory for the persistence of guilt in which Greece's post-war Right is placed symbolically on trial in a series of tableaux in which the hunters are faced with their re-created sins. Merging poetic metaphor and historic reconstruction each member of the hunting party views the body on the makeshift bier: the colonel and his wife, the businessman, the ex-prefect of police, now a publisher, the ex-partisan who is now a wealthy contractor, the politician, the film actress who collaborated with the Nazis, the royalist noblewoman - all are forced to give an account of their actions since the civil war. Finally, they dream their own execution by partisans but awake to find it was but a collective nightmare provoked by the dead body of the partisan. In the gray dawn they rebury the corpse and with it, hopefully, their own guilt.
摘自《尤利西斯的凝视》的人物梳理。求技术分析帖。或者是伟大的安哲最炫技的电影。《猎人》 尤利西斯的凝视 诸葛沂笔记。希腊就是历史之“尸”。观影日记。
| 文件名 | 格式 | 语种 | 地址 |
|---|---|---|---|
| [tencent-en-zh] Oi Kynhgoi AKA The Hunters (Director's cut) [Theo Angelo. | SRT | 简体中文字 | |
| Oi Kynhgoi AKA The Hunters (Director's cut) [Theo Angelopoulos] 1977.eng. | SRT | English字 |
| 标题 | 类型 | 来源 | 播放 |
|---|---|---|---|
| 荒野猎人 | 正片 | PPTV | 播放 |
