Name: 野棕榈
Released: 2025

✨ Moovie 推荐语

《野棕榈》(The Wild Palms, 2025) 是戈达尔晚期实验性重构，将1966年《美国制造》与《我所知道的关于她的两三件事》按福克纳原著"双叙事线交织"结构重新剪辑放映，形成互文性蒙太奇。冷峻跳切、政治符号堆砌、消费社会批判、存在主义疏离、声音对位实验、元电影自反、1960年代巴黎空间考古、安娜·卡丽娜幽灵在场、未完成性美学、电影史考古学实践。非传统叙事，拒绝改编，以放映机制本身完成文学致敬，双片并置生成新语义层。该片适合喜欢《电影史》、结构主义电影理论、福克纳叙事、戈达尔1960年代作品及实验影像档案重构的观众。

剧情简介

This screening puts into practice a radical Godardian proposition: the screening of his Made in USA (1966) and 2 ou 3 choses que je sais d’elle (Two or Three Things I Know About Her, 1966) as a single work, with their reels and narratives intertwined. Godard’s cinema was steeped in literature from the outset. One of his favourite modern authors was William Faulkner, whose work is a recurrent touchstone in his critical writings and films. He referenced Faulkner’s The Wild Palms prominently in À bout de souffle (Breathless, 1960) and toyed in the 1960s with the idea of adapting it. He also nursed the dream of making a musical in the United States with Anna Karina, Gene Kelly and Faulkner himself, but the project foundered following the latter’s death in 1962. The Wild Palms famously comprises two distinct alternating narrative strands – a tragic love story (‘The Wild Palms’), and the tale of an unnamed convict (‘Old Man’) – that illuminate one another through counterpoint throughout. The novel had a significant impact on French cinema following its publication in France in 1952, Agnès Varda borrowing its experimental structure for her pioneering first feature, La Pointe Courte (1955). In 1967, having set aside the idea of adapting The Wild Palms, Godard proposed instead projecting his two very different most recent features, which he had shot back-to-back for separate producers, as an integrated work. As Richard Roud reported, what Godard wanted was to have them shown together, ‘first a reel of Made in USA, then a reel of Two or Three Things I Know About Her, then a reel of Made in USA, etc., just as Faulkner mixed two stories in The Wild Palms. That would be his adaptation of the novel.’* This principle of weaving together and alternating between large self-contained blocks deeply influenced Godard’s practice in this period, notably in his emblematically titled One Plus One (1968) and unfinished projects such as Cub(us)a and One American Movie. It also fed into his experimentation with the juxtaposition of film reels in his film history lectures in Montreal in 1978 and Rotterdam in 1980–81.