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  La ville des pirates = A cidade dos piratas (1983)

Other(s) author(s) : Ruiz, Raúl, [zuzendari, gidoilari]Language : FrenchUniform titles : La ville de pirates.Other(s) title(s) : cidade dos piratas, A.(160 minutu) : soinua, kolorez eta zuri-beltzezIrudia (mugimenduan ; bidimentsiokoa): bideoaCity of Pirates (Wikipedia en) | La Ville des pirates (Wikipedia fr) | La ciudad de los piratas (Filmaffinity) | La ville des pirates (IMDb) | La ville des pirates (Cinémathèque Française) | Critique | Analisi (fr) | Film osoa (fr) In : Raridades - Lisboa : Clap Filmes, copyright 2010
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Gozatu
Current location Collection Call number Status Date due Barcode
Tabakalera-Ubik
Orokorra / General
Tabakalera 23 RUIZ rau (Browse shelf) Available 638697

Musika: Jorge Arriagada.
Argazki zuzendaritza: Acácio de Almeida.

Partehartzaileak: Hugues Quester, Anne Alvaro, Melvil Poupaud, André Hengel, Duarte de Almeida, Clarisse Dole, André Gomes.

Karatulan:
História de um duelo entre uma criança que fugiu de casa e uma mulher que poderia (deveria) ser sua mãe. História da sedução que esta criança exerce sobre a mulher, para a empurrar para o suicídio ou para a escravidão. História de um assassino que se esconde numa ilha e vê o seu futuro carrasco, encarnado numa criança que é uma réplica exacta de si mesmo, enquanto criança. Três histórias que são uma só. A transcrição livre de Peter Pan…

IFFR web:
"City of Pirates" is (de)composed under the sign of Surrealism, with its trust in ecstasy, scandal, the call of the wild, mystification, prophetic dreams, humour, the uncanny. There is no city of course, just a spooky castle on a rocky island. There are echoes of the quintessential Surrealist film, L'Age d'or. Perhaps it should be read as a film fantastique, sharing something of the trance-like, morbid poetry of Maya Deren and the paranoid Manicheism of early '60s English SF cinema. The tumescent, terrible sexuality that drives the narrative takes on a vampirish quality. Oral sadism and cannibalism underpin its images.Much of the pleasure comes from the aesthetic means Ruiz employs to suggest the Surreality inhabited by his desiring machines. His maniacs live in, and for, contradiction. Surprise, invention, paradox are his touchstones. He believes in affirmation through irony, the clarity of enigma, deferred resolution, outlandish change of mood. What binds Ruiz's lost souls to each other's desire is an Oedipal, narcissistic quest for identity. Desire depends upon creating an unbridgeable distance to ensure infinite pursuit of the object. Cinema is the ideal location for such doomed searches for the cathartic image, for recapturing the eternal, dangerous moment of looking. -Paul Hammond.

Audioa frantsesez eta azpitituluak ingelesez eta portugesez.
Audio en francés y subtítulos en inglés y portugués.

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