《洛杉矶》是詹姆斯·班宁导演的作品，发行于2001年（美国），由内详等主演，策驰影院-最新好看的热播电影电视剧排行-策驰电影网为大家提供洛杉矶完整版免费在线观看，能在手机和电脑上流畅观看洛杉矶高清版（1080p高清无对白原声），同时还支持是手机投屏。
纪录片,剧情,情电影洛杉矶讲述了：主演导演：詹姆斯·班宁语言：无对白地区:美国编剧：类型：纪录片上映时间：2001-10-26(维也纳影展) 别名：用户标签：纪录片,詹姆斯·班宁,美国,美国电影,电影,奥地利,●Documentary,◎2000s片长：87分钟imdb编号：tt0293359LosAngelesisdepictedin35stationaryshots,each21/2minuteslong,inthisnon-narrativefilm.
NearingthecompletionofElValleyCentro,Ibeganplanninganurbancompanionpiece,Los,thatwastobeaportraitofLosAngeles.Itseemedlogical,forthepoliticsofwatercertainlyrunfromtheValleytotheCity.LoswouldhavethesamestructureasElValleyCentroandwouldlookandlistenwiththesameintensity.ThetwofilmswouldbeconnectedwiththelastshotofElValleyCentropumpingwateroutoftheValleyoverWheelerRidgewhilethefirstshotofLoswouldshowMulholland’sfirstspillway(stillinuse)bringingwaterintoLA.
JamesBenning,December2001
Conceptual-artportraitofLosAngelesCounty,comprising35two-minuteshotsofstreams,hills,buildings,factories,gardens,highways,rivers,cattle,trains,people,theocean,acemetery,theskyline,policemen,backstreets,ajail,soccerplayers…Bennings’cameraremainsstatic,andintheabsenceofcommentarytheonlysoundsweheararewhatever’saudibleineachoftheseplaces:snatchesofdialogue,distantbackgroundmusic,therumbleofcarsandtrains.
BenninghasbeenoneofAmericanleadingavant-gardefilm-makersforover20years,butremainsbarelyknownbythewidercinemagoingpublic,especiallyabroad–partlybecausehedoesn’tallowhisworkstobeavailableonvideo.AndwhileLosisno-one’sideaof‘commercial’film-making,Benning’slowprofileisanindictmentofthetimidpoliciesofoursupposedlyadventurousarthouses:thisismuchtoofascinatingauseoffilmforittoberelegatedtoartgalleries.
Loscanbetakenas35shortmovies,eachofthemsayingsomethingaboutthecounty,eachofthemposingsomequestionaboutBenning’stechnique,providingViewingbecomesanactive,enthrallingexperience–evenwhenthere’sapparently‘nothinghappening’onscreen.Itsoonbecomesclearthatthetiming,orderandcontentsofeachimagehasbeenverypreciselycalculated,andinmanycasesit’swhatwecan’tseethat’sthe‘subject’oftheshot.Thepenultimateshotisof‘homelesspeople’,andatonepointanunseenpasserbyexclaims“Whatthef*ckareyoulookin’at,stupidmotherf*cker?”Buttherearenoanswers–everythingaboutthefilmisamatterofsubjectiveinterpretation,andeveryresponseisequallyvalid.Benning’sgazetransformsthewholeof‘greater’LosAngelesintoavastworkofart,intheprocessmakingiteven‘greater’still–andthisisonlythecentralpartofaprojected‘SouthernCalifornia’trilogy.
Thefilmisfullofengrossingincidentaldetails,cross-references,tantalisingcluesthatmightmeaneverythingornothing.EarlyoneweseeaDKNYadvertisingbillboardownedbyacompanynamed‘OutdoorSystems’,andthisphrasesumsupBenning’srealsubject–thehumanandnaturalprocessesthatcombinetoformthebizarreanomalyweknowasLA:ahugecloudofdustrisingfromabrushfire;theeveninglightsofcarszoomingalongasix-lanehighway;theflightpathofalandingjet-plane.Thisisagamewithspecificrulesofform(thelengthandhorizon-linesofeachshotaresimilar)andcontent(eachshotmustcontainsomeaspectofhumanactivity;eachshotmustbeoutdoors)and,finally,memorytest.We’reexposedtoeachoftheimagesforsolong,thatbytheend,whenBenningbringsupaseriesofcaptionsidentifyingthelocationsofeach,wecanrunthroughthewholemovieagain,inourmind.
Needlesstosay,Loswon’tbetoalltastes–intoday’smarket-orientedclimate,suchaprojectnecessarilyrunstheriskof‘pretentiousness’accusations–butit’ssurprisinghowquicklyyouadjusttothefilm’suniquerhythms,andthisisaverystraightforward,accessiblekindofexperimentalism.Intermsofanartistusingcinematoexpresshimself,itdwarfsalmostallthisyear’s‘conventional’releases:ifanyfilmof2001canpossiblychangethewayitsaudiencesthinkaboutandviewtheirworld,it’sJamesBenning’smysterious,majestic,magicalLos.
