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美利坚合众国 HD

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分类：纪录片 美国 2022

导演：詹姆斯·班宁   

　　James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?

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片名：美利坚合众国

别名：美利坚合众国免费在线播放

电影类别:纪录片

连载状态：完结

发行年份：2022

首映地区：美国

导演：詹姆斯·班宁

演员：内详

更新时间：2024-04-18 03:40

《美利坚合众国》该片自上映后，口碑爆棚，能否成为年度最佳纪录片？

《美利坚合众国》该片自上映后，口碑爆棚，能成为年度最佳纪录片。《美利坚合众国》往往可以变成在今年的电影中用户评价有名的电影，直接原因是《美利坚合众国》整部著作自身足够好，不论是艺人内详的呈现、詹姆斯·班宁拍摄技巧，或是电影情节和现实感，全是非常出众的，取得好口碑：2.0分其实也很正常。《美利坚合众国》的艺人内详尽管说不是非常有名，但是内详的表演很好，可以把观众们带到到小故事中来，让粉丝有一种窒息的感觉，相比这些帅哥的表演内详的表演真是能够称之为高手，因此大家喜欢这部纪录片。

　　James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?

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