《丛林怪兽》电影由瓦基姆·佩德罗·德·安德拉德执导,瓦基姆·佩德罗·德·安德拉德编剧。戈兰德·奥特洛,保罗·宙斯,扎德尔·等明星主演的喜剧,奇幻,电影,更多关于《丛林怪兽》的精彩内容请持续关注小红帽影院。
该电影是由巴西导演戈麦斯执导的,他通过电影展现了对现代社会的批判和对个人的追求。电影中的马库奈玛是一个纯真而天真的人物,他不断面对现实世界的残酷和不公,但他始终保持着自己的信念和乐观。电影通过马库奈玛的眼睛展示了巴西社会的不平等和贫困,同时也揭示了人性中的善良和温暖。这部电影的拍摄手法独特,使用了许多象征性的画面和符号,以及幽默和荒诞的情节。电影的音乐也非常出色,融合了巴西民间音乐和现代音乐的元素,为电影增添了独特的氛围。《马库奈玛的诞生》是一部充满希望和乐观主义的电影,它向观众传递了一种积极的能量和对人性的信任。它是一部经典的巴西电影,也是戈麦斯的代表作品之一。 更多关于《丛林怪兽》的精彩内容请持续关注小红帽影院。
《丛林怪兽》别名:马库纳伊玛,JungleFreaks。 又名:Macunaíma,该片于1969上映,制片国家/地区为巴西。该片时长共110分钟,语言对白葡萄牙语,最新状态超清。该片评分7.1分,观看人数381人,更多关于《丛林怪兽》的精彩内容请持续关注小红帽影院。
《丛林怪兽》是一部巴西电影,根据MariodeAndrade的同名小说改编而成。故事发生在一个弹丸大小的丛林中,一个老妇人奇迹般地生下了一个成年男子Macunaima。Macunaima决定要寻找生命的意义,于是带着家人和追随者去往大都市。在旅途中,发生了很多奇迹,但Macunaima始终保持着童心。在大都市,他被恐怖分子利用,并卷入了他们的革命计划。在大都市中,Macunaima学会了许多关于生活的教训,包括有时坚果并不总是食物。该电影于1969年在巴西电影节上获得了多个奖项,包括最佳男主角和最佳剧本等。它将喜剧和奇幻元素融合在一起,呈现出一种独特的视觉风格,并探讨了生活的意义和人性的复杂性。
Macunaíma is a crazy surrealistic Brazilian movie while being very entertaining and relatively easy to watch. Fantastic elements are incorporated well to arrive at amusing result in some sequences.
The film opens with the birth of the hero Macunaíma. The “baby”, though, is a full-grown black man while the “mom” is an aged masculine white woman. Macunaíma survives from a great flood. His two brothers and a woman and Macunaíma are forced to migrate to the city. One the way they found a gushing fountain of which the water turns Macunaíma white. One of his brothers, Jiguê, rushes to the spring but manages to wet only his soles and palms. By the time the oldest brother reaches the spring, the spring has dried up. He felt disappointed so Macunaíma reminds him, “You’re already white. What if you turn black?”
This sequence is not only ridiculous but also racist to audience who are unaccustomed to the contradiction of racial mixtures in Brazil. The critical attitude toward racial stereotypes is hard to recognized in this film and the more obvious critique is towards consumerism and capitalist development. The treatment of characterization of Macunaíma as the white “hero” is sarcastic evidence of the critical stance via the dominant myths of contemporary Brazilian society.
In light of the colonial past history of Brazil and her current economic dependence, the national identity is a long-standing issue. Hypocritic tricksters who deceit a lot to poor laborer often get flattering in Brazilian folklore and that kind of preguiça or laziness can be regarded as a form to fight against foreign snide merchant. Macunaíma, as an impuissant but loveable hero, is popular among people. When he slays the giant, everyone may identify with him. However, defeating the bureaucracy or hypocritic officials by individual is just a pastime enjoyed by masses. The final unsatisfying end of Macunaíma, is actually arranged by director to reveal that how frangible and petit these “victories” of hero are.
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