INDIA is an exotic mixing pot of iconic wildlife, secret locations, epic landscapes and colourful beauty. This iconic and landmark series is a celebration of India’s most spectacular locations and incredible wildlife. From the "home of snow" in the epic Himalayan Mountains we travel to the mighty River Ganges, lifeblood of India as it carves out its dramatic path across the subcontinent. We also reveal Thar, the “Great Indian Desert”. Its territory includes much of Rajasthan (“the desert state”), where the bleakness of its environment is juxtaposed with the striking colours of traditional Rajasthani dress and amazing wildlife spectacles Also featured is India's lost world of the north east, home to head hunting tribes, tiger infested forests, mountains not yet climbed, rivers waiting to be fished. And finally to the Western Ghats. This biodiversity hotspot is home to epic waterfalls, hill tribes, hidden caves and stunning wildlife.. Part 1: Thar Desert Sacred Sands Covering 200,000 square kilometres, India’s Thar Desert is one of the harshest places on the planet. Baking heat, desiccating winds and near permanent drought has earned this unforgiving land another name – “the region of death.” As we explore India’s great desert we unveil its hidden secrets, and ultimately shed light as to how the Thar has become the most crowded desert in the world. Part 2: Ganges River of Life The Ganges is the longest river in India. It flows from the glaciers of the world’s highest mountains, the Himalayas, to the largest bay in the world, the Bay of Bengal. Human pollution threatens to overwhelm the river, but somehow wild animals survive. Hindus believe that Ganges water has the power to purify, and it seems there is some scientific evidence to support this conviction: microscopic organisms actually eat bacteria that could cause disease, and uniquely high level levels of oxygen break down organic waste faster than any in other river. This self-cleaning property of Ganges water helps support some of the last remaining true wilderness in the world – the Sundarbans swamp. Here, India’s largest population of wild tigers have never learned to fear man, making them very dangerous neighbours. Part 3: Himalayas Surviving the Summits Outside Asia, no peak reaches above 7000 metres, but along the Himalayan range, over 100 mountains exceed this height by at least 200 metres, making it the tallest mountain range on the planet.As Earth meets the sky along this hostile terrain, powerful winds, sub-zero temperatures, and a lack of oxygen oppose virtually all forms of life, but remarkably, this immense geological feature somehow supports one of the largest and most diverse collections of creatures on the planet – including man. While the Himalayas rugged highlands offer little direct refuge to humans, in the shadow below, over a billion people in India rely on the mountains for survival. Part 4: Western Ghats Monsoon Mountains Stretching for a thousand miles along India’s west coast, the Western Ghats are a spine of mountains that lay claim to being one of the most bio-diverse places in the world. Mountains rear their heads into the path of monsoon clouds, intercepting rains and making the western slopes some of the wettest places in India. Tropical rainforests thrives, and explode with life. The Western Ghats hold the key to life across southern India. Rainwater harvested by the mountains washes down to the coast, feeding Kerala’s backwaters; huge rivers flow east across India’s dry interior, a lifeline to animals and people. Part 5: Indias Lost World Imagine a lost world – head hunting tribes, tiger-infested forests, unclimbed mountains, pristine rivers. Known as the Seven Sisters of India, there are seven relatively unexplored and isolated Indian states. What mysteries lie within this secretive land and why have they remained untouched for so long? North-east India is an anthropological paradise; there is no other place on Earth with so many different ethnic groups. The forest slopes are filled with mysterious tribes whose lives are dictated by the ebb and flow of the rain and the seasonal fruits of the forest. In these largely unexplored and isolated areas people scarcely known to the Western world continue a way of life steeped in ancient rituals.
每一個故事都非常非常非常喜歡。文學性的東西拍得這麼有趣和高質，又自然又爆笑，節奏太妙，導演本人就像魔法一樣，是真的大師。
三个“偶然与想象”短片组成，偶然是瞬间是大段旁白可以描述的奇妙，想象是镜头之内的推进切换，也是舞台化的语言赋予镜头之外的空间。三段利用对白和镜头基础特性实践偶然与想象之下的东方深层情感情绪的流动，细腻捕捉一切。低调地突出一些叙事魔法，消去一些视听技巧，观众迅速沉浸。
把《再度》放在最后真是太完美了，前两个故事学生习作般的质地会多少让人看轻，但《再度》像侯麦的故事一样充满对生活的了然和隽永。再次重逢的世界。
4.5，滨口在小体量中建构复杂情境（人际关系）没有太多优势，他所擅长的是利用言论交谈的内容充实情境以及内容对人物当下情绪的延伸。
视听语言和文学调性紧密融合，有的镜头很洪尚秀。2》1〉3
冲着和大鹏的《吉祥如意》对比去看的，果然比较下来，贾玲的纯粹和真诚更打动我。
本屆電影節最高，新世代的日系侯麥～好久沒有看到這麼高超的笑點設置，（說笑點設置感覺有點辱沒了編劇）最好笑輕鬆的第二段用一個最灰暗沈重的現實底色的結局來平衡，第三段的橋上告白又淚崩，導演說一段長鏡頭的對話，需要演員用一週的時間排演。教授最後對性癮主婦的遵遵教導真是沁人心脾啊
买了今天的第一场电影票，也是我看的今年第一场春节档电影，刚开始的剧情走向，让我以为和《我才不要和你做朋友呢》是一个走向，穿越到妈妈的年代，和她做朋友，帮她筛选自认为比较好的男朋友，给她自己所认为比较快乐，这一部分的情节笑点很多，尤其是沈腾和贾玲在场上表演的那一段，把我给逗乐了。可到了“可她还不会缝呢”这里，我一下子还没有反应过来是什么意思，等反应过来的时候，贾玲已经泪流满面了，我也忍不住了。妈妈是永恒的话题，贾玲用自己的方式诉说着亲情，诉说着“李焕英”们。这是一部很真诚的电影。
手法略显稚嫩，但还是被贾玲的真诚所打动。
#滨口龙介02 三个段落，三次变焦。总有人拿滨口比候比洪，但在我看来，真论对用言语无法形容之情感的捕捉，两位前人都是不及滨口的。开篇《魔法》即点题偶然与想象，偶然的巧合（闺蜜恋上前男友），想象的尴尬（幻想自己实话实说所带来的结局），三角关系下的尬场总能让爱变成不清不楚的占有欲。《开着的门》里展现的爱还多了一层欲，开门与关门更是在暧昧上的拉扯，关于能不能见人的边界最后还是因为发错的邮件而爆发。《再一次》直接就是想象的世界（一个硬科幻的想象世界观架构），两个女人偶然的相遇，干脆将错就错，构建错位的身份来互相告慰，袒露心声。她们都再现了曾经炙热的情感，互织出了超越友谊的感情。三个故事都是始于偶然，留有想象，滨口总是用他特有的面庞凝视让你恍惚于影像之间，弥留于人物内心的情绪，久久不能自拔。132
最喜欢第三段。一次偶然的邂逅，两人分别扮演了对方想见的那个人，向对方说出了当年说不出口的话。
美子捂住脸，不确定是真情流露又或是遮住面目；
精彩，可以看成是后疫情时代的三则寓言，共同点是都在讲埋藏或压抑在内心深处的情感，力量层层递进。第一则侧重剧力，第二则侧重技法，第三则将力量推到顶点（尘封已久的感情爆发最强大的力量。进行到角色扮演部分是本片的绝佳Magic时刻，大题小题一起点，力透纸背）。它们是三则寓言，也可以是一则寓言，还可以是现实世界的某种缩影。也因此我们看到每个寓言故事里的人们表面上在不断地说话、交流，实则完全处于失语状态（好似戴着面具的假人，卡萨维蒂从未显得如此重要），迷失在自身所处的尴尬境地里，一如当下的我们，看上去已然恢复到正常生活，其实这层口罩早已成为我们的交流屏障，语言、思想以及太多重要的东西被无情地阻隔。时过境迁，一切都回不去了。
但是我和你有着一样的缺口，我们或许通过这个缺口依旧连接着彼此
确实怪“洪尚秀”的，但洪尚秀更散漫更悲观，那是我喜欢洪尚秀的地方。
masterpiece；狠好的剧本，虽然说能看到《这时对那时错》和《夜以继日》的一点点影子；全用对话支撑但完全自然不尴尬，应当尴尬美学的时候又可以狠狠尴尬；以及workshop式的演员调度（应该也有素人？（and片尾演职员表里面的钢琴演奏是《欢乐时光》的四位之一。不能震撼得更多。
②褒扬女主（被肯定-反击成功-被肯定），浑浑噩噩（癔症）
偶然是意料之外，是误会的捉弄。想象是主动性质，是现实的补充。偶然与想象，构成了我们生活中的微妙平衡，给原本沉闷的空间带入了新鲜的空气，甚至是赋予了人们一点诗意。当然，它往往不是浪漫的诗意，而是滑稽的诗意，能体会到的话，笑笑也好，笑笑别人，也笑笑自己，这样就不必认真埋头于人与人之间的关系，否则我们将窒息。其实日常的相对就是这般，轻巧中总有些难以言说的感觉。嗯，难解，辨不清真假，分不了错对，但可以假装重来。但，假如重来，在下一刻等着我们的，应该也还是我们当初的那些心思和选择吧。人是很难有真变化的。这么说，偶然就是必然了，而想象，也不过是欲望的写真。进一步说，生活嘛，我们不能不把它当一回事，但也不能太把它当一回事。因为，其实它就只是那么一回事。
1. 本来以为只有《夜以继日》里爱情内情绪的不可捉摸是恐怖片，没想到滨口龙介拍出来的基本都是恐怖片。不管是长镜还是中景特写，演员们台词与身体的不同频率的共鸣，还有这些整体带来的反省式恐怖，无法预测甚至无法辨别瞬间的情绪正体。太吓人了。2. 个人依旧是不喜欢滨口这种把细小的波动放大的情节。日本侯麦么？情情爱爱的都是作茧自缚的人啊。3. 这观影体验倒也不是无聊的那种差，但情节内容原因很多时候都是地铁老人看手机的表情。
Copyright © 2015-2023 All Rights Reserved
