十分钟年华老去：大提琴篇

Bernardo Bertolucci 《Histoire d'eaux》（意大利）

Mike Figgis 《About Time 2》（美国）

Jirí Menzel 《One Moment》（捷克）

István Szabó 《Ten Minutes After》（匈牙利）

Claire Denis 《Vers Nancy》（法国）

Volker Schlondorff 《The Enlightenment》（德国）

Michael Radford 《Addicted to the Stars》（英国）

Jean-Luc Godard 《Dans le Noir du Temps》（法国）

1. Histoire d'eaux 水的故事

东方与西方，完全不同的民族和国家，不同的肤色和语言。他离开吹笛的老人，遇见她。相识相爱，结婚生子。从最初的一杯清水，到婚宴上的酒，到妻子产前破了的羊水，到最后男人回到老人面前跪地掩面而流下的泪水。

不是很喜欢这个短片。除了片末老人悠扬的笛声。生活充满起落和际遇，不同地域不同言语的人们相遇并且共同生活。平淡平凡，看透风景，细水长流。也许这便是这一段十分钟所代表的含义。

2. About Time 2 关于时间2

说实话，不甚喜欢。或者说，对于Mike Figgis的四格漫画式影片，看起来觉得眼花和头晕。我不知道目光究竟应该集中在那里，也不知道如何将目光分别扩散到屏幕的四个方向去捕捉和看清楚究竟每一格里面究竟在放什么。结果就是，我的眼睛集中在四格中央的黑点上，然后每一格都没有看完看清。

依稀记得的是一些片段。走廊与楼梯里高跟鞋清脆的奔跑声，老人们呼唤孩子名字的殷切，孩子们年少的局促，女人欢笑的红唇与指尖流淌出的清脆钢琴旋律，情欲的亲吻和缠绵……

可是，我实在不知道他想要表达什么。多么惭愧。笑。

3. One Moment 瞬间

这部短片的色彩有着清新淡然的田园风格。Menzel运用了捷克演员Rudolf Hrusinsky一生中拍摄的诸多影片的剪辑拼接成了这一段十分钟。他在院子的苹果树下小憩，朦胧中见到自己。年少时候的身影缓缓走来。黑白、泛黄再到彩色的一个个片段；英俊年轻、瘦长挺拔，成熟坚毅、魁梧强壮，再到松弛苍老却平静的同一张脸。

一生里他饰演了那么多不同的角色，有过那么多的辉煌与荣耀。他隔着铁丝网看见两个女孩。年轻写在脸上，肆意欢笑，短裙在风中飘扬，光滑纤长的腿在阳光里显得白皙而性感。他看她们骑车而过，逐渐消失。一个熟透的红苹果掉落在他的头上。

十分钟。往昔的成就与今昔的垂暮。不可挽回的老去与对年轻风华的眷恋。一切在苹果掉落的瞬间，嘎然而止。

4. Ten Minutes After 十分钟后
 
电视里一遍又一遍地播放着英语教学的节目。女人正在为结婚纪念日准备着丰富的晚餐。精美餐具，烛台佳肴，香槟蛋糕，还有摄像机。一切准备就绪，她等待着丈夫的归来以及两人甜蜜幸福的庆祝。

门铃响了，女人殷切地跑去开门，却看见醉酒后神志不清的丈夫。进屋后他不停地找酒，跌跌撞撞并且粗暴地吼叫和推搡。她没有生气，只是劝着他并且替他脱鞋宽衣希望他可以睡去。但男人是愤怒的。片中没有交代男人酒醉与暴躁的理由。只是她无法安抚并且使他平静下来，反而愈发地令他狂躁，渐渐丧失了最后的理智。他卡住了她的脖子，她在挣扎与慌乱中，用刀刺向了自己的丈夫。

十分钟。结婚纪念的精心准备一片狼藉，甜蜜温馨被扭打和流血所取代。丈夫被送去医院，警察在现场要求做笔录。电视里英语教学节目依然在继续，柜子上一张张印证着曾经共同欢乐时光的照片，寂静无声。

5. Vers Nancy 面对南希

不得不佩服Claire Denis，居然可以请来Jean-Luc Nancy这个享有盛誉的哲学家，更令人佩服的是，他让这位著名哲学家用了整整十分钟时间坐在火车里，展开了一场一对一的问答讲座，关于“介入”的意识形态，关于进入一个陌生地域的“挣脱”，关于时间、地点与自身交错转换的哲学思考。

专业的学术性话语冗长晦涩。女孩崇敬的眼神与身后黑人男子抽烟远眺的漫不经心形成鲜明的对比。火车还有十分钟即将到站。男人回到座位。他不经意地说，你们谈得真是兴致盎然。Nancy点头。

他答：“但是，时间结束一切”。

6. The Enlightenment 启迪

旁白来自一只小小的苍蝇。从它的口中缓缓地讲出Aurelius Augustinus这位基督神学大师对于时间的自问与论述。镜头忽高忽低摇曳不定，这是苍蝇飞行的轨迹。湖畔林间有一家人在野炊烧烤。人们的轻松闲散与旁白的哲理内涵相去甚远。一边讨论着过去、现在与将来，讨论着时间在点上的短暂与的永恒，而另一边则是嬉笑歌舞，尽情欢乐。

不同的肤色与不同的年纪，男女老幼，酒后小小的不和谐，平凡生活与真实家庭。而当苍蝇飞近正在烤肉的父亲时，他本能地举起铁勺挥舞驱赶，却勾到了上方的电线。瞬间，生命便消逝。接下来的情形是可以想象的。慌乱、哭泣、悲痛。欢乐被这些字眼取代，家庭不再完整。

片子结束在苍蝇撞上灭蝇灯的一瞬。旁白结束，蓝色的灯光变得模糊而斑斓，色彩融合在一起缓缓回归到黑暗。十分钟，一切的欢笑与惬意，任何的哲理与自省，都只是瞬间的逝灭。

7. Addicted to the Stars 沉溺于星

具有科幻的意味，从地球出发，穿越了时空，又来到80年后的地球。

此去经年，物是人非。机器与真人无异，城市翻天覆地，没有人行走，修女抽烟亦不行善。男人在夜里找到自己的家。推开门去，终于见到自己的儿子。眼前已是白发垂暮的老人，满脸皱纹，话语不清。自己仍是出发时的模样，正当壮年。父与子，相对无言感慨万千。他出发前的照片还在，身着宇航服，牵着十来岁的儿子，脸上都是幸福的笑容。

他带给他外星球的石头，然后不得不离去。走到门口的时候，老人缓缓地叫他爸爸。他说，爸爸，我爱你。他回过头来，百感交集。他说，我也爱你。话毕，他只身踏着清冷的街，于天色渐白的凌晨回到基地。

十分钟，时间给这对父子开了这样大的玩笑。孩子从童颜等到鹤发，漫长的一生对于父亲而言不过是短暂的瞬间。山中方一日，世上已千年。一生等待着的父爱与亲情，都因这一声苍老的“我爱你”，而显得格外悲怆与温馨，亦是感人至深。

8. Dans le Noir du Temps 在时间的黑暗中

写到这最后一部短片，Jean-Luc Godard的十分钟。涵盖了太多太多太多的东西，让一切的语言和文字都黯然失色，变得平乏和贫瘠。

拼贴、旁白、旧质的胶片、黑白与暗黄的色彩交错，开片的暗夜与剧终时的烛光，伴随着一部又一部名片佳作的片段。青春、勇气、思想、记忆、长存、爱情、沉默、故事、恐惧、永恒。最终回归到电影。画面的交替更迭伴随着旁白柔缓的磁性声音，让人看到一些清晰而陈旧的记忆影像。青春与幽怨，狂躁与沉静，政治与世界，战争与杀戮，善与恶，生与死。

人类生存中稍纵即逝的东西，在影片里面被一一呈现。时间的长河里，一切只是沧海一粟。可是分明在这短暂的十分钟的影像里，我们看见了Godard对于和平与人类文明发展的无声呐喊与呼唤。
------------------------------------------------------

生命是一条河。每一个瞬间都可以改变命运，每一个十分钟都在使年华老去。弹指间刹那芳华。一生那么长，又那么短。人类究竟可以做些什么？十五位导演各自有十分钟的答案。而我们的答案，又在哪里？

另外值得一提的是影片里的画面色彩与音乐。一部部短片间隔时候沉静的水流，导演各自运用的黑白或昏黄或明快的色彩，时而沧桑时而现代。配合着小号的高亢明亮与大提琴的委婉低沉，宛见时间长河缓缓流逝。不知此片是否有OST，如此看片之余若亦得原声来听，便真正完美了。

http://www.blogcn.com/User5/vivianisvivian/blog/3474895.html

十分钟年华老去
　　我对情节掌握的不是很清楚，所以就说一下我的感悟吧
　　人生就是由有限个十分钟组成，一个又一个的十分钟带走了我们的青春我们的生命气息
　　我不懂音乐，但在片尾，当大提琴的声音变得低沉而沧桑时，一个渐渐老去的面容缓慢而及时地呈现在我的面前，有一种震撼的力量，年华流走的那种惊恐与失落突然涌上了我的心头。
　　十分钟的感情和纪念和决裂，这些人生的碎片深深地触动着我。十分钟，足以摧毁一段美好的感情一个绚丽的人生。这部电影让我不由得想象自己的一个又一个的十分钟，读一篇文章，和朋友聊天，和家人吃一顿饭，听一首歌。。。十分钟，平凡却如此珍贵，以至于失去后用不可得。事实上，我么能有多少个十分钟能无怨无悔呢？
　　突然就萌发了珍惜光阴的感想。不断涌动的湖泊般的水面像岁月诱人的外表，。可一旦到了生命的极限，十分钟都很奢侈，想到生命终了的那一刻，尘世的那些纷纷绕绕又何足挂齿？有句话叫“乐在当下”。
　　过去不是最美好的，因为我们再也回不去了，未来也不是最美好的，因为我们还没有抵达，所以过好当前的每一分钟把！心情一直很沉重，也夹杂着一些释然，青春仍握在我手中，我仍有一大把时间可以经营。十分钟，年华老去。历史 现在 未来 都在上演

Time is an abstract concept that we can experience it but can hardly tell. Time is something invisible but when it meets lenses, what can we see?

Ten Minutes older trumpet/ cello is a collection of 15 directors' work of their description of the concept of time. In this collection, Wim Wenders, Wener Herzog and Volker Schleondoff use their own contemplation and lives to explain the question “what is time”.

Wim Wenders signed himself down in this work as usual, the remarkable elements in this work is still highways, music,men and cars. The story he is telling is about a man who got heart attack during the driving. The plot is quiet simple but the way Wenders tells the story is quiet interesting.

The story start with a trouble, and the aim is quiet clear—find the hospital. Then the obstacles come—no one can help, and the man knows he can do nothing but go to the hospital himself.When he finally reaches the hospital, the story was finished successfully. Wenders gets rid of the trouble of the impossibility to tell a big story in this way---tell a tiny story which has a simple plot.

However, the development of the story is quiet cool and out of control.“Here we go”, he said, then the adventure began with Eels's song Souljacker part1. Here we have to spend some words to talk about this song.

Souljacker is a song mixed with anger and Rock, which led people into something special, free and crazy. The scenery we see in the film changed with the melody, it changed the color and the sight is distorted. It looks like Dali's pictures. When you see the windmills, you will feel like stuck into something –That's time. Time becomes slower like what Einstein described in the theory of relativity——the song changes into another Eels song Woman driving, man sleeping, a soft song describes man's dream .The song creates a warm and peaceful atmosphere like going back to home or being shined by the grace of the Lord. And then, the car stops, and he gets his second life.

Something special in this part is that Wenders visualizes time, and man's struggle in time. He described the color and the amazing distortion of time from the sight of an patient. From my own angle, Wenders marked himself significantly with Highway and Rock'n roll music.

Werner Herzog also be himself in this collection. Documentary is what he is famous for so that's the only documentary in this collection. Herzog never do a simple documentary which shoot from a journalist angle---for assure the balance and fact, it avoids any point of view. Herzog made his documentary into an “Author documentary” which show his own thought of world and concept.

He choose a disappearing tribe to represent time. How they found the tribe, what it was like and how it looks like now and future, that's the simple clue of this documentary. The tribe hid in the forest and they even killed white people who live in their domain.

Something unbelievable is that this tribe accepted the crew as well as accepted the gift and medical care. Soon they were changed dramatically. They dressed like us--- do not be naked any more, they went to the big cities, watched TV, even had sex with two white ladies. They accepted those new things without any pain. However, those “gift” killed the tribe---The dream of the new generation is to be a good citizen of a big city, and they prefer to speak Portuguese. Language is the last part of a culture. In the Franco-Prussian War, Arthas was banned from French---culture hegemony started from killing a language—However, the tribe threw their language away voluntarily. The new time swallowed old time softly, old things died like being suffocated in a sweet dream.

However, they are scarred by the past---they still can't understand what's time. They do not need the clock and can't understand it at all. What is time? Why time is so important. In a modern society, punctual is a virtue. But this virtue do not have a long history in our society: Time was emphasized during the Industrial Revolution, to ensure the efficiency. Efficiency is a race with time, the more product you make in certain time, the more profit you gain. But in a tribe, the only thing they need to know is “the face of sun and moon.” The standard of efficiency in the tribe is whether you can feed yourself and your family. Compared to them, “What you need is less than what you expect” is a maxim to our lives.

The inability of understanding time demonstrate that time is an artificial concept. People always need something to locate themselves, we made meridian and parallel to locate ourselves and we need time to fix us on the time dimensionality. What a pity, we are resist of the freedom of floating in nihility.

The final film is from Volk Schlondolf. Schlondolf is a director who can shoot something gigantic, and his work has strong insinuate of time. Like the Tin Drum, he use the eyes of a boy who resist to grow up to observe an epoch of time and human nature. He used a lot of metaphors to build up his own concept.

The clip Enlightenment is an unique work because of the following reasons:
1: View angle and the movement of camera.
2: The setting of monologue.
3: The setting of the climax.

The director set the the camera as the eyes of an mosquito. Mosquito is something almost invisible. Also, it is an outsider which hold no power and no status to things on air. But it's free, when it travels from river side to the forest. Though it's a view sight from an insect, it seems that it choose what to see and whom to observe.

Because the viewer is something that can fly, so the camera twist in angles that out of rules. It just move freely, but steady. It makes the viewer get some power to chose the scenery. The firm shoot seems to add some spiritual to the viewer—it is not an ephemeral insect which has no intelligence. It is subjective but with firm will. At that moment, it seems that the viewer is not a mosquito any more, it's the God. However, God never interfere people's affair, it just observe and let things happen.

The coordination of movement and the special optic angle model the attitude

The setting of the monologue is the other “outsider”. The voice has no control of the happening issue, also, it comes from a ancient famous bishop called Augustinus who wrote a book called Confession. Confession is a book that Augustinus confessed himself to the Lord. Augustinus' thought of time is very philosophic. He talks about his confusion of the malposition feeling of time that caused by the unequality between the physical and incorporeal experience of time. And the monologue also cause the malposition feeling of the image and the voice. The magical feeling of “malposition” makes the concept of time subliming and solid.

The dramatical ending form two death, one is the man in the film and the other is the death of the “observer”, the mosquito. The man's death seems to prove the fragile of the concept of time. You can never “occupy” time. You have no power on time like you have no power to the sudden death. Though Herzog shows that time is an artificial concept, however, Schleondoff used his lenses to show his rejection. From Schleondoff's view, the essence of time is abstract and transeunt, only the concept of time is man made. It seems a power that force history flows, society changes and our lives pass.

At the end of the film, The dimension malposition was discarded. “You my God brings me enlightenment, you will be my lantern.I'll come toward your light.You, my God will make my darkness bright, and brighter and brighter...” There comes to a grinding halt, with the death of the witness.

The end of our time is death. But our time died, the time of others will continue. “There will be no present if there isn't something exist.” said Augustinus. Our deaths cause us lose the present of our time. But we changed into the past time of others.

When you question about which one of the three directors describe time best.I think it's hard to tell. They showed their own point of view and their feature and character. Wenders succeeded in visualizing time, Herzog did a good job in showing the relationship between primitive society and modern society (including comparing the state of people living under two conditions of society. ) Also he showed his own concept that time is an artificial concept. Schleondoff created a malposition scene by using some common material. He fixed the material together and creating the feeling of “uncomfortable”. He created an atmosphere for people to get involve into his speculation.

From my own point of view, Schloendoff did the best job to describe the abstract concept. He did this short film in an philosophic way, that is excavating essence out of huge chaos. Also, he demised the right of speculating and describing time to audience.----“I do confess my lord that I don't yet know what time is.” Schloendoff is the only director who tell audience “I don't know yet.” That's really brave. What schloendoff showed is Time in philosophy which create a good chain to tie the past, present and future. The other two directors though showed themselves and their own concept, they just stop at a stage which is some place farer from the surface of an issue or object, they didn't actually touched the confusion of time. They answer the question in an easier way which is finding something which had experienced or was experiencing the confusion or the problem of time to show what time is. They didn't face the question itself. So I think their work still has some more way to go.

很喜欢陈凯歌这个小短篇，当他精心烹调《无极》这道大菜的时候是有点刻意高调过了火侯，这道小菜类似游戏之作，放下架子来拍倒是做到了简单清爽游刃有余，虽然凭此翻不前案，但作为第五代大师的功底还是可见一斑。能拍出《黄土地》、《霸王别姬》的导演，总希望他能安静的再拍出一些可看的片子来。

剧中一疯子带着搬家公司去百花深处胡同，声称要搬家，搬家公司到了才发现这已经变成待建的荒地，唯独一棵大槐树还标识着当年的百花深处胡同。搬家公司一行人才发现所谓冯先生是个疯子，但为了拿钱，他们装模作样的搬鱼缸、花瓶，反而为疯子对故居四合院真挚的感情所打动。

故事说白了没什么意思，导演的功底在镜头的表现力上，那个突然缓缓落地的青花瓷，从疯子的幻想中突然化为现实画面，让观众跟他一同体验了心碎的瞬间；最后那个从泥土中挖出的铜玲铛，叮叮当当叮叮当当让所有人顺着疯子快乐的目光看见了槐树下的四合院，水墨风格的电脑特技把这些北京人心中的四合院记忆化为完美的影像，周围是千篇一律的冷冰冰的高楼大厦，然后是破败的拆迁荒地，那一树浅绿下的红墙青瓦像极了荒芜中仅存一点美好，那一刻，观众同搬家公司一行人一同恍惚在美好的百花深处，此刻，他们才发现自己也是那么的怀念失去的家园，原来人人都有这么一个失去故园的伤口。

平日里，正常的人们也会不经意见怀念自己的老家，会想念那个四合院、那棵槐树、那个摆着小摊的巷子口……但是这种感伤总会让位于现代化过程的理性目标，现代化是一个进步的神话，以摧毁过去创造现在而且永远有一个更美好的目标，于是人们认为故园的失去毕竟是值得或者是不可避免的。陈凯歌用了一个疯子为主角，他没有理性的约束，因而感情无比真挚强烈，可以嘲笑他甚至欺骗他，但是一不留神，心中隐藏的那个关于故园伤口，竟被他撕开，流出浓浓的怀念和伤感。

这是十分钟年华老去(Ten minutes older)的大提琴篇(the cello)里的第二部短片，导演是迈克菲吉斯(Mike Figgis) Figgis是谁？实际上，在这之前我对他也没有多少印象，最后我查阅了一下这位大师的主要作品：

Love Live Long (2008)
"Canterbury's Law" (1 episode, 2008)
    - Pilot (2008) TV episode
Co/Ma (2004)
"The Sopranos" (1 episode, 2004)
    - Cold Cuts (2004) TV episode
"The Blues" (1 episode, 2003)
    - Red, White and Blues (2003) TV episode
Cold Creek Manor (2003)
... aka Maison au fond de la baie, La (Canada: French title)
Ten Minutes Older: The Cello (2002) (segment "About Time 2")
... aka Ten Minutes Older: The Cello (Germany)
The Battle of Orgreave (2001)
Hotel (2001)
Timecode (2000)
Miss Julie (1999)
The Loss of Sexual Innocence (1999)
One Night Stand (1997)
Flamenco Women (1997)
Leaving Las Vegas (1995)
... aka Leaving Las Vegas (France)
The Browning Version (1994)
Mr. Jones (1993)
Liebestraum (1991)
Women & Men 2: In Love There Are No Rules (1991) (TV)
... aka The Art of Seduction (UK: DVD box title)
... aka Women & Men 2
Internal Affairs (1990)
Stormy Monday (1988)
The House (1984) (TV)
可能比较的熟悉的就只有那部Nicolas Cage的Leaving Las vegas，其他的作品基本上是没怎么听说过的。

这部影片用的是非常独特的四格画面，也就是整个画面被均分为四格，每一格用不同的视觉，顺着同一时间，讲述着同一个故事。我须得承认在看第一次这个短片的时候，我并没有怎么理解导演的意思，甚至连他最基本的，试图通过很直观展现的东西也没能弄明白。开始，我还以为，我必须要看四次这部短片，每次看一格，可是当我第二次看这部短片的时候，我发现我多多少少明白了一些。

影片开始便是滴滴答答的时钟声，左上角的画面里有一个男人和一个女人；左下角的画面里一个电脑屏幕上慢慢地出现一些文字，A staircase. She stopped. She turned toward me. She was wearing a long dress. She lifed it. Her legs were like child's. So long you could......；右下角的画面里开始出现一个女人穿着高跟鞋在楼道里奔跑，发出很刺耳的声响。接着一连串的故事就开始了，彼此独立但又有着千丝万缕的关系。

我以为这是一个中年男人在回忆，他的童年也就是那个叫做马克的小男孩，小男孩哭了，是因为他在第二次世界大战中饱受战争带来的伤害，但是最终他会挺过来。那个在楼道中奔跑的女人，是他一直深爱着的人，他还深深地记得和她第一次遇见的时候，A staircase. She stopped. She turned toward me. She was wearing a long dress. She lifed it. Her legs were like child's. So long you could......电视机画面中的两个老人，他的父亲和母亲，以及他们在终老之时的对话，这个中年男人很早就离开了家，但心里却一直惦念着这两位老人和那栋房子。

最后，时钟声再次响起，四个画面定格在了四张面孔上，父亲，母亲，中年男人，以及那位他深爱的女子。