It’s winter in France, the light is dull, the camera pans over a snowy wasteland and enters a massive construction of steel and glass that is open at @能下分的捕鱼@the sides, stopping.. It’s winter in France, the light is dull, the camera pans over a snowy wasteland and enters a massive construction of steel and glass that is open at @能下分的捕鱼@the sides, stopping in front of the reproduction of a wooden ship. The structure that juts out over the upper deck is inscribed with the words ‘Liberté, Égalité, Fraternité’. Med Hondo uses this tracking shot to establish the setting of h@玉蒲团迅雷种子@is feature film West Indies ou les nègres marrons de la liberté (1979), while opening up a much larger space to the imagination at the same time. The ship turns out to be a most versatile stage for a grotesque narrative of colonialism, slavery and the struggle for independence in the French West Indies. Med Hondo explores his many themes in this limited space, whether it be the Middle Passage, marronage, abolition or the history of labour mig@赵奕欢被谁破的处@ration to France. The film marries an aesthetics of thrift with the flamboyance of a musical; different time periods glide into one other as elegantly as the geographic@欧美厉害的女rapper@al points of reference; and only occasionally do the actors’ visible exhalations, an alienation effect created by the cold, remind us that West Indies was not shot on Martinique.详情
Elisabeth Martínez,安娜·卡斯蒂罗,帕科·莱昂,马努·里奥斯,罗拉·罗德里格兹,Nagore Aranburu,恩尼科·萨伽多伊,玛莉亚·加利亚纳,Nico Montoya,阿丽娜·拉祖梅科,Usúe Álvarez,Esperanza Guardado,Delphina Bianco,Iñigo de la Iglesia,Isabel Miguel Hernanz