美墅館

失恋33天 ：文章继续负责贫嘴抬杠，白百合估计已经成为新一代影坛文艺女，开场不久的一句“原来分手的场景味道是香的”还颇带着王家卫的味道。不过印象深刻的还是海清那段正室交手小三的戏份。她演这种麻利口舌的媳妇确实比扮嫩装傻来的合适又痛快。三下五除二就把小三给打发得落荒而逃。看着只能感叹那年代的小三也有廉耻之心，不光彩不体面的事在心里也能合计清楚，怕只怕遇到现在年轻貌美不怕羞的。何洁在将爱里和徐静蕾的对白怎么说来着，“十年，我可没想那么远”。估计这话怕是谁听了当场都要气绝。

我是爱 ：这是一部灵感涌动的电影。有人称美轮美奂的氛围犹如Visconti 转世，也有人将其比作查特莱夫人的情人的现代版。看这电影的由头很简单，就是冲着Raf Simons去的。看罢由衷赞叹这电影确实精雕细琢，服装、场景、音乐的设置等诸多细节都为影片铺垫出少见的迷人格调，一下子就脱颖而出了。比如Morandi画作的出现，他标志性的色调和Tilda Swinton身上的Jil Sander呼应出了这个瑞奇家族的品味和偏好，虽然有意大利的评论家强调这种极简主义很少能在米兰的上层阶级觅得踪影，但这并没有抹去电影在造型设计上的半点成功。又比如Sonia Delaunay作品在片中的再度演绎，宴会上 Tilda Swinton的那条菱形格纹披肩呼应了她的双重身份，俄罗斯古董修复员的女儿以及意大利面料家族的女主人。以下是三段评论摘录：

Oscar Costume Design #5 : Guadagnino in fact pays homage to a great deal of ‘50s movies. See the shot of Emma/Tilda Swinton from the back with a chignon typical of Hitchcock, who had requested that Kim Novak’s hairstyle in Vertigo made reference to the similarities between a tornado and sexual organs.Or the scene on the roof of the Duomo in Milan taken from Visconti’s Rocco and his brothers .

Inspired by I Am Love : Swinton’s character starts off in easy, neutral pieces, almost in an effort to blend into the Italian scenery. As she begins an affair with her son’s friend, Antonio, the color choices become more intense – bright tangerines and seductive reds – and as the film rounds out with a family tragedy, the colors reign back in towards ashen grays and black. It’s a full spectrum color evolution which is kept subtle by simple, minimal shapes and classic tailoring.

I Am Love Review : The director Guadagnino pieces this together in a dreamy, impressionistic way reminiscent of Visconti, particularly in his mixing of long shots and extreme close-ups.Yorick Le Saux's prowling camerawork in the scenes where Emma spies on Antonio evokes the half-sickened, half-yearning mood of Dirk Bogarde's Von Aschenbach stalking Tadzio through the streets in Death in Venice.Marisa Berenson (another echo of Death in Venice) is superb as the faintly terrifying Recchi matriarch.

忧郁症 ：前七分钟磅礴华丽的开场彻底把我怔住了。城堡面前的高尔夫球场的安排借用了安东尼奥尼的《夜》。Kirsten Dunst在书房中换置的画作是勃鲁盖尔的《雪中猎人》、《懒汉的天国》、卡拉瓦乔的《手提歌利亚头颅的大为》和米雷的《奥菲利亚》。

Now Rooney Mara is practically ubiquitous. It is clear that Rooney is a fashion force. Since early December, she showed on the premiere, through her fashion choices, Mara has been appealing to embody her character. I am wondering how did she get a shortcut from the baby-doll pastels, ruffles, and prints she wore as late as 2010 to edgy style transformation nowdays. She does make great leaps tremendously with 5 key points:

1. less soft but own tough and mystery
2. feature dark-color
3. geometric shape
4. intrigued sheerness
5. wild eyes, strong eyebrows and limited make-up