Обзоры и сравнения - Наше кино
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|Дата релиза /Год
|Размер диска /Gb
|Формат видео /AR
|Русский закадровый перевод (А. Сокуров) DD2.0(224), Немецкий DD5.1(448)
|Cecchi Gori Home Video [Blu-Ray]
|Дата релиза /Год
|Формат видео /AR
|16:9(1,32:1) 1080p AVC
|Русский Нет, Немецкий DTS-HD MA 5.1(1679), Итальянский DTS-HD MA 5.1
|Итальянские, Итальянские (Hearing Impaired)
|The film at the Venice Film Festival 2011 Interview with Robert Carsen, the director of opera and theatrical trailer
#1Дата: 2012-03-30 07:07
Российский релиз на Blu-Ray заявлен: 29 марта 2012, «Новый Диск»
FAUST - Blu Ray Disc
Distribution: CG Home Videos
Issue: Italian, German
Subtitles: Italian for the Hearing Impaired
Audio: Dolby Digital 5.1-
Display: Letterbox 4/3 1.37:1.37:1
Duration: 134 '
Extras: Interview with Robert Carsten, director of opera and theater; Trailer.
Note: Audio is clean and sharp, where the talks stand out well from the sounds that come from far and near. The picture is flawless in letterbox format chosen by Sokurov's strange homage to the films of the birth of cinema as if to underline how Faust is a timeless legend. Colors well defined but the contrast is particularly strong and rigorous for a bright and compact.
A high technical quality that enhances the important technical sector of the film.
Very interesting interview with Carsten that makes us understand how the theater and theatrical timing influenced the work of Sokurov.
The film was released on DVD, has the same special features.
Official Site: www.cghv.it
Original title: Faust
Artistic quality: Cult
Image Quality: Excellent
Sound Quality: Excellent
Extra quality: Good
Technical evaluation (max 5):
Rating (max 5):
Sokurov gives us yet another flash of genius with a film cathartic and (im) penetrable on the Faust myth. A Faust spinning confused in the maze of his aspiration to understand the secrets of eternal life, but so terribly mortal being attached to the female beauty. A detail which the classic Faust should not know but that the Russian master has in its DNA as a meanness and a thousand fears that disturb it. Fears and disorders that seem to go hand in hand with photography by Sokurov's choice to tell the eternal story, just desaturated colors and soft focus to dominate and almost blinding bright yellow like the love of eternal life. Mannerism spatial but not intrinsic value in history. A narrative register with emotions and passions out of the ordinary. But the story of Faust is not always a story that goes beyond "normal"? certainly. A story that folly and dispenses pearls of wisdom like this story and how smoothly and without hesitation present in this film that dominates his passions desires to dispense inguaiano always the poor and weak "human". In the work of Sokurov's Faust seems a gentle man but full of doubts. A man who would and would not want to. What are yearning for more but then seems to draw back. There seems to be a deceiver, but even a tricked. It's just a man with a thousand weaknesses and insecurities. Deceiving others and himself as the lights that pierce the illusory pictures that magically make one after another at different moments filmed. Paintings that are free and liberating moments that deception that is life itself: ephemeral and pointless some to be immortal. The only way to kill time is to remain motionless fixedly in thought. Everything lies in our mind. Time is an illusion, like youth and decay. Illusions created by a mirror (not) magic arduously tries to tell her (non) truth. And we, weak men, believe in what we are dished up. Faust But this brings us back to earth, the earth, dento the earth, then, let us climb higher on the scale of what we want. We are weak and fragile, but with a boundless imagination. And that's imagination is the true master of our thoughts. Let them run and so we will have immortality. Sokurov's film as a page that will remain indelible film without time constraints ...
A MASTERPIECE FROM THE GOLDEN LION
by Editorial Staff
Published Sunday, February 26, 2012 - years NSC VIII n. 11
Nothing can stop the thirst for knowledge of Faust: no time. Why settle for a moment of ecstasy when you can go further in search of endless pleasure? Faust is a man ruled by instincts, like all: hunger, greed, lust. But he has a dream bigger than the others: find a deeper meaning to life. Building it will mean to challenge someone who can do everything: Mephistopheles, Lord of Evil. And for this brave bet there is only one winner possible.
Part of the gap between the Body and the Word, the plot to follow to get into the head of Sokurov (which overall confirms the visual style of his later films). The beginning is symptomatic: a penis at rest in the foreground, which belong to discover the "victim" of an autopsy a little 'rough. The rest of the poor body, just as disgusting, is quickly broken up unceremoniously by a Doctor who seeks the soul, but was disappointed by not being able to "locate" from a gall bladder and duodenum. The same evil fellow with argument, as I said, far from being attractive, is a poor devil, with a rough bell-shaped body without normal sexual attributes (but not their appetites). The body, the physical (and often monstrous horror boundaries) overflows and is tortured. Overflows the word, that not only is silent almost a minute to two hours and all the passes of the film. What are the poor reproaches nervous mother Margaret, greasy or regurgitations of Mephistopheles (here called Mauricius, the '"dark"), or even screams and curses of the patients (undergoing medical treatment very similar to torture), Sokurov decides to inondarci dialogues. This over-confidence in the word (though, as you said, he voluntarily puts in doubt the status of truth) is perhaps the only sign of heaviness of a film world that still returns to the Exhibition of Art film its proper dimension.
A movie if we want a little 'difficult, but that has wowed the critics unanimously. Technical analysis is not easy given the peculiarities of the directorial choices that you make use of an unusual size, a very special photograph and numerous distortions. The framework thus provides video images turns into almost sepia tones and very deliberately "soft", with an almost square screen ratio and optical effects that eliminate any reference point. The audio tracks are offered in both cases in DTS-HD Master Audio 5.1, and even here, however, focus particularly on the central channel at the behest of the director. The Italian edition of the film in high definition Blu-ray disc in the extras is accompanied by video contributions from the Venice Film Festival (red carpet, press conference and awards) and an exclusive interview made by the staff to master CG Robert Carsen, the director of works opera and theater.
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