Moovie 影牛
类似《永恒之光》的电影推荐
按内容相似度排序，推荐理由根据共同类型与主创信息生成。
相似电影
12 部
寂静之光
推荐理由同属剧情类型，内容风格接近
故事发生在位于墨西哥北部的一个宗教社区之中，住在这里的人都是极为虔诚的信徒，一丝不苟的遵循着主的指引，一言一行均时刻谨记教义。约翰（Cornelio Wall 饰）和妻子艾斯特（Miriam Toews 饰）是此处的居民，两人结婚多年，一家人住在风景秀丽的郊外，日子过得平静而又幸福。 然而，一场风暴正在平静的表象之下激烈涌动，原来，约翰爱上了一位名叫玛丽安（玛丽亚·潘克拉兹 Maria Pankratz 饰）的女子，两人常常私会，享受灵与肉结合的快感。两人的关系并非仅仅局限于肉体，约翰深深的爱着玛丽安，这也就意味着，每当他和玛丽安在一起时，违背的不仅仅是世俗的道德，还有自己一生坚持的信仰，这令约翰陷入了巨大的痛苦之中。
永恒之门
推荐理由同属剧情类型，内容风格接近
威廉·达福将加盟朱利安·施纳贝尔([潜水钟与蝴蝶])执导的新片[在永恒的门口](At Eternity’s Gate，暂译)。达福将在片中出演文森特·梵高。电影将聚焦梵高在法国阿尔勒与瓦兹河畔奥维尔度过的时光，重点讲述艺术家的创造力和为创作做出了怎样的牺牲。该片将在法国当地取景拍摄。
故乡之光
推荐理由同属剧情类型，内容风格接近
在智利的阿塔卡马沙漠，天文学家探寻宇宙以寻找生命的起源，不远处，当地的妇女正在沙丘中搜寻亲人的尸骸，他们是被皮诺切特独裁政权随意处置和杀害的。导演帕特里克·古兹曼将这两种关于生命的找寻并置在一起，引人深思。 这是一部在海拔3000米的Atacama沙漠拍摄的纪录片。天文学家聚集在那里观测群星。这个地方还因一个原因吸引了众多来访者：地表的干旱能使人类尸体完好无损。除了那些干尸和迷路的探险者的尸体，还有许多政治被关押在这片沙漠中而死去。影片强调了这样的两面性，将天文学家观测繁星寻找外星生命和那些支离破碎的家庭寻找亲人对比。所以影片的政治层面很清晰。 幕后制作 导演帕特里克·古兹曼的每一部影片都和20世纪智利国家的回忆有关：从他在1975年戛纳影展平行竞赛单元放映的《智利之战》三部曲开始，一直到在2004年非竞赛单元放映的《萨尔瓦多·阿兰德》。《故乡之光》也延续了这一主题，影片面向未来（群星），同时不忘为了赢得独立的代价和那段充满鲜血的痛苦的过去。
荣光与暗影
推荐理由同属剧情类型，内容风格接近
这个故事基于真实事件，围绕着一对父女展开，他们在第二次世界大战期间与德国人合作：记者兼报业大亨让·卢夏尔，法国解放后他逃离了西格马林根，后来被判处死刑并于 1946 年被处决；他的女儿科琳娜，她在 1935 年至 1940 年期间是一位前途无量的女演员，之后因健康原因被迫中断演艺事业，她曾与一名德国军官短暂结婚，后来与父亲一起逃亡，并成为他的秘书，最终被判处十年的国家耻辱刑。
冰之塔
推荐理由同属剧情类型，内容风格接近
比冰更冷，她的吻仿佛能穿透灵魂……那是1970年代。年轻的让娜逃离了家庭，来到一家电影工作室寻求庇护，在那里，她被《冰雪女王》这部电影中神秘的女主角克里斯蒂娜深深吸引，陷入了克里斯蒂娜那令人着迷的魅力之中。
哦，至高的光
推荐理由内容主题与本作较为接近
Taking the last verses of Paradise in Dante Alighieri’s The Divine Comedy, Straub extends the same didactic/exploratory tendencies he already was trying with texts by Cesare Pavese in Dalla nube alla resistenza (1979) and its sequel, Quei loro incontri (2006). Now, the meditation deals with repetition, light, and absence, using Edgar Varèse’s genius in an introduction that sets a somber tone so what comes next would be pure light and sublimation. (-bafici.gob.ar) There's no denying that the late work of Jean-Marie Straub can be highly forbidding, even by the tough-minded, rigorous standards established throughout his career with his late partner Daniéle Huillet. Ironically, one of the aspects of Straub-Huillet work that has made it so challenging, so seemingly resistant to immediate viewing comprehension as well as closer analysis, is the fact that on its surface it often appears quite simple. The Straubian method entails shooting with direct sound, minimal camera movement, and a highly focused, almost declamatory performance style that foregrounds the text being presented rather than any actorly or theatrical values. There is almost a "readers' theatre" quality to Straub's films. But if one were forced to generalize about this highly developed method, it would probably be most correct to say that it stakes out a territory between two kinds of modernism.. On the one hand, the modernism of Clement Greenberg is present, in that these films insist upon the separation of their elements and the maintenance of each contributing artform in its irreducible specificity. Writing remains writing, not theatre; music is music; and film, film. On the other hand, Straub employs the modernist intransigence of Theodor Adorno's "negative dialectic." The films exist as aesthetic objects, in a relative autonomy. But they simultaneously gesture outward, into the material specificity of the landscape they occupy, the concrete visual and soundworld that envelops the filmic act, but does not transform it into fiction (or vice versa). Straub's method maintains a tension between a documentary foundation -- that which is recorded in the profilmic scene -- and a rehearsal or reconstitution of the creative energies of a previous moment in history -- the instantiation of a text or set of texts not from the "now." From an Adornian standpoint, these two times might one day be reconciled in a utopian social form as yet unformulated. For now, their irreconcilability indicates the work we still have before us. In some ways, O somma luce is the most satisfying of Straub's landscape based works, although I hesitate to say so. I tend to find it the most open and inviting of his films since Huillet's passing. But I don't entirely trust this impression, and even as I articulate it I wonder if perhaps I missed some complicating nuances. Here, the separation of aesthetic elements is made nearly absolute, and while Straub has mined this terrain before, O somma luce's use of stark sensory contrast is more explicitly bolstered through the film's own thematics. The first eight or so minutes of the film are imageless black digital video. Inside this "video void" (to borrow David Larcher's term), we hear one of the most distinctive works in the modern repertoire, Déserts (first movement) by Edgard Varèse. This 1954 chamber work, which includes electronic elements on tape, is notable for its wide ranging dynamics -- piercing horns, pealing bells, a substantial percussion variance at the base, and generally a great deal of sonic space throughout. In a sense, Déserts is a logical extension of the explorations one finds in Mahler (a Straub favorite), while Varèse has clearly abandoned tonality for clusters of sound that, for lack of the technical expertise to describe them, I would have to call primal in their sense of generative force. This could be said to rhyme, in a broad sense, with Straub's cinematic use of space and landscape. There is a radical particularity in the land formations Straub commits to film or video; in using the camera to register a place's sonic existence, or its reflected light, Straub is also giving us a concrete segment of its accumulated physical history, practically a core sample. So in that regard, Déserts is music that hints at pure sound, the sound between sounds, and the molecular level of deep listening. The final few notes of the movement are heard in a "sound bleed," a (literally) pivotal moment in O somma luce. This half-second, which takes us from darkness to light, is so out of character with Straub's customary insistence on separation, and on unadulterated straight cuts, that it is quite shocking indeed. Of course, in the context of another filmmaker's work, it wouldn't register as anything strange at all. But there is something in the explicit themes of O somma luce which could explain why such an uncharacteristic transition seemed like Straub's best choice. This pivot, after all, gives us a moment of "total cinema," of music, text, performance, and conventional editing -- an Adornian utopia, if you will -- which then slips away. Afterward, we are in a rustic but nondescript Italian landscape, rocky hills in the background, as actor Giorgio Passerone reads Canto XXXIII from Dante's Paradiso. This Canto is the story of the creation and recognition of Light. In fact, in its description of moving from darkness to illumination, ignorance to knowledge, Canto III clearly prefigures the "Untutored Eye" doctrine of Stan Brakhage's Metaphors on Vision. Dante was an obvious influence of Brakhage, and just as Brakhage posited a pre- and post-lapsarian narrative of light-bathed sensation and the subsequent fall into language, so O somma luce presents an unexpected "knot" of confluence (the music / image union) which is instantly thrown into the past the minute its existence is even recognized. This desire to reclaim the moment of Light's epiphany, while recognizing its impossibility, is encapsulated in lines 67 through 75 of Dante's Canto: "O Light exalted beyond mortal thought, / grant that in memory I see again / but one small part of how you then appeared / and grant my tongue sufficient power / that it may leave behind a single spark / of glory for the people yet to come, / since, if you return but briefly to my mind / and then resound but softly in these lines, / the better will your victory be conceived." It is, interestingly, at this point in O somma luce that Passerone pauses, picks his script up from the ground, adjusts his glasses, and continues reading. The film then cuts to a left to right tracking shot of the skyline above the landscape, with mountains in the background. The shot ends on a thicket of brush tangled in a ragged fence. Straub repeats this arc (Heideggerian earth and sky, down to the banal ground of private property) twice, with slightly different qualities of sunlight. During this segment, Passerone reads the following lines: "substances, accidents, and the interplay between them, / as though they were conflated in such ways / that what I tell is but a simple light. / I believe I understood the universal form / of this dense knot because I feel my joy expand, / rejoicing as I speak of it." That is to say, Dante believes that he can extract the sense of Holy Light from the ordinary, profane illuminations surrounding him. O soma luce clearly agrees, but from the same sort of standpoint that, once upon a time, "stood Hegel on his head." "Exalted Light" is the close, sensual appreciation of this world, the only one within which we're privileged to exist, the one we are charged with stewarding. For Straub, this is the materialist reading of Dante. It's Canto XXXIII, refracted through the window of "Feuerbach" Thesis 11. (-academichack.net)
永恒的她
推荐理由同属剧情类型，内容风格接近
在一场文学著作发表会上，一位女性坐在台前，朗读著书籍里的字句，抬头望见门口走进的男士，四目相望，勾起无限回忆。她是Rosario Castellano，上世纪墨西哥文坛最重要的诗人、作家，身为一位女性，长久以来致力为女性的权益、受父权社会压迫的群体而发声。在 1950 年代初期，当时还是位文艺少女的她遇上了年轻帅气的知识青年 Ricardo Guerra，两人步入婚姻有了共同的孩子，他成为哲学教授，而她则成为一位母亲、妻子与作家—这社会要求女性必须无条件地扮演好前两个角色，才有余地思考其余的事情。嗒嗒的打字机声响，成为原本相爱的两人最深刻的折磨，她如何在怀抱著文学创作梦与社会大众对女性角色的期待之间取得平衡？
凡多和莉丝
推荐理由内容主题与本作较为接近
在Jodorowsky的所有我们能看到的电影里——除过之后的《獠牙》跟《彩虹贼》，这部他早期长篇电影《凡多和莉丝》相比起他大名鼎鼎的《鼹鼠》，《圣山》和《圣血》显得十分不起眼。 不过这部影片维持了Jodorowsky影片一贯的光怪陆离，开始的镜头就是侧躺在桌子上的莉丝生吃掉一朵花，整个故事是一对情侣凡多和他腿有残疾的女朋友莉丝一起去寻找传说中神秘的“Tar之城“一路上的经历，途中不断的有不同的怪人诱惑凡多离开双腿不能动的莉丝，甚至还有凡多的母亲，而他们却好象一直都无法离开原来的地方——酷似煤矿的小山，途中还时常出现他们的幻象（时间太久，记不清楚具体的，大家自己看），在找到了Tar之后，凡多却终于忍受不了莉丝，将她暴打致死，后来他十分懊悔，按照莉丝生前的愿望将她埋葬，在坟头上放上了一朵花，并自己躺在她坟墓旁，直到落下的树叶几乎将他埋没，至此，影片在异常欢快的音乐中结束。 不过也许是由于对宗教的生僻和文化背景的不同，据说这部影片在墨西哥阿卡普尔科电影节首映的时候观众被吓的四散而走，是因为受不了影片中残忍的镜头，不过看了这部影片我居然莫名其妙的感伤起来，我都不知道我该去想些什么，而Jodorowsky也由此开始他被放逐到海外拍片的生涯，不过之后才有了更经典的《鼹鼠》，《圣山》和《圣血》，也更富有反宗教的意味，相比起《凡多和莉丝》更加被观众认同。 可能此片仅仅是他古怪念头的最初尝试，虽然情节很古怪，可倒也不至于不知所云，凡多和莉丝他俩寻找的这座“Tar之城”是个异常奇妙的地方，所有的城池在大灾难降临后都被毁了，只有Tar还矗立着，所以人们传说只要到了Tar，就可以获得食物跟美酒，甚至可以获得永恒；到了Tar，才可以真正理解生命，可以爱也可以被爱，会着迷于未来，而且，Tar永远不会遗弃任何一个人…如此完美的地方，可以看成是个严重理想化的境地，接近理想国的过程自然有荆棘和劫难，更要经受意志的考验，而只有知道如何达成理想的人才能最终实现理想，一开始，凡多和莉丝相信只要找到Tar莉丝一定可以重新走路，而他们所有的问题也都会解决，所以说凡多和莉丝可以说是失败了，尽管他们找到了他们的目标，但最终还是被湮灭在了对过分理想化的Tar的畅想中，这也是我觉得这个故事还存在了一丝凄美味道的原因，凡多和莉丝的爱情悲剧可能正因为他俩的迷茫，虽然有生活的方向，却并不知道如何去达成自己的理想，最后演变为绝望，末路，自我以及互相伤害，这多多少少也印证了那个年代青年的心态——尽管Jodorowsky可能并没想这么说。 精彩的配乐也是Jodorowsky所有影片的共同特点，可惜只找到《鼹鼠》的原声，包括本片在内的其他几部的原声只好继续寻觅了，我尤其是特别喜欢莉丝唱的那首“当我死后，将我埋在….”，曲调很是优美，声音也很有质感，尽管有那么点感伤，好象预知了这可怜女人的结局一样。 还有就是，片头的那些画，我不知道它们是否也是宗教画，也不知道是否因为没有看明白那些画造成我对本片理解的偏差，所以希望懂的朋友给我解答吧，对于这样的影片我只能介绍，而尽可能的少去评论了。
陨落之星
推荐理由同属剧情类型，内容风格接近
曾师从法国默剧大师贾克·乐寇的多米尼克·阿贝尔与菲奥娜·戈登这对比利时夫妇在电影界一直是非常独特的存在，他们擅长承袭自默剧伟大传统的夸张肢体表演，风格常被形容为“诗意滑稽剧”。本片是他们的最新作品，讲述一个曾参与恐怖袭击的前社会活动家多年后因面临受害者报复而与妻子和好友 谋划逃亡的故事。这部影片在以往的梦幻喜剧色彩上更注入黑色电影元素，欢乐中带着悲观和虚无，彰显他们在创作上的愈发成熟。
夜访吸血鬼
推荐理由同属剧情、惊悚类型，内容风格接近
18世纪的路易斯安娜州，丧失妻女痛不欲生的庄园主路易（布拉德·皮特 饰）遇上了吸血鬼莱斯塔特（汤姆·克鲁斯 饰），被其施法变成吸血鬼。路易心存人性，不愿意吸血杀人，靠吸食动物的血为生，而莱斯塔特则一心要把路易斯教导成一个真正的吸血同类。 在新奥尔良，路易禁不起诱惑吸了小女孩克萝迪娅（克尔斯滕·邓斯特 饰）的血，而莱斯塔特则不顾路易斯的反对把克萝迪娅也变成了吸血鬼。三个人组成了一个奇特的家庭。 几十年过去了，克萝迪娅开始怨恨莱斯塔特剥夺了他真正的人生，她设计杀死了莱斯塔特，和路易周游世界，过着既像父女、又像情人的生活，寻找同类，也寻找着自身存在的意义。 在巴黎，他们遇上了以阿蒙（安东尼奥·班德拉斯 饰）为首的一群吸血鬼，聚居在剧院地下，过着和他们迥然不同的生活，阿蒙给了路易许多教导，想成为路易的新伙伴，为此，路易和克萝迪娅之间出现了裂痕，最终，酿成了无可挽回的悲剧。 1988年，路易斯返回了新奥尔良，向一个年轻记者马洛伊（克里斯琴·斯莱特 饰）讲述了自己的经历，讲述了吸血鬼长生不死背后的哀伤，不料，马洛伊在听完之后却被深深地吸引，一个新的吸血鬼的故事，将由此开始。
明月守护者
推荐理由内容主题与本作较为接近
故事讲述爱闯祸的无名小卒缪恩，有一天阴差阳错得成了重要的月亮守护者，而他任职第一天就造成大错，间接导致太阳被偷、月亮消失、世界大乱。于是，他不得不携手太阳守护者和蜡质姑娘茜尔，展开一场大冒险，揪出混乱背后的黑手，拯救世界。
永冬
推荐理由同属剧情类型，内容风格接近
Christmas 1944. Soviet soldiers invade Hungary and drag every young woman with German origins away from a small village and transport them to a Soviet labor camp where they are forced to work in the coal mines under inhuman conditions. This is where Irén, one of the Hungarian women, meets Rajmund who decides to teach her how to survive. While she is determined to return home to her little daughter and family, history and fate have a different plan: Irén and Rajmund fall in love.