《我的二十世紀(jì)》劇情介紹
《我的二十世紀(jì)》是由伊爾蒂科·茵葉蒂執(zhí)導(dǎo)，伊爾蒂科·茵葉蒂編劇，多蘿塔·塞格達(dá),奧列格·揚(yáng)科夫斯基,等明星主演的劇情,電影。
本片將視角對準(zhǔn)20世紀(jì)初，以當(dāng)時(shí)歐洲社會的變化為背景。一對孿生姐妹出世后就分道揚(yáng)鑣，后來一個(gè)成了勾引富有男人的名媛，另一個(gè)則是身綁炸藥從事恐怖活動的無政府主義者。兩人不知情上了同一趟東方快車，并且跟同一個(gè)男人發(fā)生關(guān)系。當(dāng)她倆終于面對面時(shí)，她們均擺脫了先前的習(xí)性，成了真正的獨(dú)立女性。
《我的二十世紀(jì)》別名：My 20th Century My Twentieth Century Mi siglo XX，于1989-09-15上映，制片國家/地區(qū)為匈牙利,西德,古巴。時(shí)長共104分鐘，語言對白匈牙利語，最新狀態(tài)HD。該電影評分7.7分，評分人數(shù)1526人。
《我的二十世紀(jì)》演員表
《我的二十世紀(jì)》評論
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《我的二十世紀(jì)》影評
[LastFilmIWatched]MyTwentiethCentury(1989)?。?/h3>《我的二十世紀(jì)》是一部以20世紀(jì)初歐洲社會變革為背景的電影。故事圍繞著一對孿生姐妹展開，她們選擇了完全不同的生活道路。一個(gè)成為了富人們心目中的名媛，以勾引富有男人為樂；而另一個(gè)則成為了無政府主義者，從事恐怖活動，甚至身上綁著炸藥。然而，命運(yùn)卻將她們引導(dǎo)到了同一輛東方快車上，并且她們還與同一個(gè)男人發(fā)生了關(guān)系，卻并不知情。當(dāng)她們最終面對面相遇時(shí)，她們都放下了先前的習(xí)性，成為了真正獨(dú)立的女性。電影以喜劇的方式展現(xiàn)了這一獨(dú)特的故事情節(jié)。通過對20世紀(jì)初歐洲社會變革的描繪，觀眾們可以感受到那個(gè)時(shí)代的動蕩和變革。同時(shí)，影片也通過姐妹們的命運(yùn)交錯，探討了女性獨(dú)立和自主的主題?！段业亩兰o(jì)》以其獨(dú)特的劇情和喜劇元素，為觀眾們帶來了一場獨(dú)特的觀影體驗(yàn)。影片通過對姐妹們的成長和轉(zhuǎn)變的描繪，向觀眾們展示了女性在社會變革中的力量和堅(jiān)韌。這是一部值得觀看的電影，它不僅給人帶來歡樂，還讓人思考和反思。
English Title: My Twentieth Century
Original Title: Az én XX. századom
Year: 1989
Country: Hungary, West Germany, Cuba
Language: Hungarian
Genre: Comedy, Drama
Director/Writer: Ildikó Enyedi
Music: László Vidovszky
Cinematography: Tibor Máthé
Cast:
Dorota Segda
Oleg Yankovskiy
Paulus Manker
Péter Andorai
Gábor Máté
Rating: 7.2/10
Hungarian female director Ildikó Enyedi’s ON BODY AND SOUL (2017), her first feature in 18 years, is the recipient of 2017 Golden Berlin Bear, so it is high time to reappraise her under-seen body of work, here comes her dazzling Black-and-White feature debut MY TWENTIETH CENTURY.
Capitalizing on the monochromatic mystique of a bygone era, the story focuses on identical twins Dora and Lili (Segda, a ), born in 1880, after their mother died and selling matches on a freezing cold night in Budapest, they are snatched away and lead separate lives. Their path will converge again in 1900, the turn of the century on the Oriental Express. Dora, a pert minx, dallies her way through men’s courtship and rooks them as much as she can, whereas Lili, a dour-looking revolutionist, carries on a bomb-attacking mission with steely resolution. Unbeknown to each other, both’s lives will soon be entangled with a mysterious middle-aged man Z (Yankovskiy, a magnetic cipher-like presence), a constellation of vignettes are engendered by alternating between Dora and Lili in their aggressive/passive sexual/power tugs-of-war with an inscrutable Z: playing hard to get, coquettishly libidinous, complete obedient, that is the gist of femininity’s unabashed duality, as a riposte to the sidebar, where the young Austrian philosopher Otto Weininger (played by Paulus Manker with gusto and ridicule), who would kill himself in 1903 at the age of 23, rants about his misogynistic take on women’s “whore/mother” dichotomy in front of a flock of suffragettes. In the hyper-surreal denouement, Dora and Lili finally meet inside a hall of mirrors (a motif almost runs to platitude), later arrives Z, ushered by a mule, a metaphor of men’s intransigence and if one recalls, it also heralds the twins’ separation at the first place.
The surreal touch is what makes Enyedi’s daring debut a novelty, picking up the baton from erstwhile Mitteleuropa New Wave standard bearers (Vera Chytilová’s DAISIES 1966, Jaromil Jires’ VALERIE AND HER WEEK OF WONDERS 1970, to name a few within the knowledge of this reviewer), Enyedi interpolates these elements to impart her rumination on more abstract aspects: nature vs. human (the monologue of a Zoo-trapped chimp, a lab dog on the lam confronting a railway train, other topographic arrangements), cosmology (Greek chorus of glistening stars), and technology (Edison’s discovery opens and bookends the film, cinematograph, etc.), but this smorgasbord of ideas and conceptions fail to organically connect with the diegesis, a rookie indulgence for starters, often bite off more than one can chew - making every film as the last one. This approach does impinge on the cohesion of its central narrative, which could have been marshaled into a more scintillating doppelg?nger charade. Yet, if eccentricity and diverse nuggets are what the filmmaker intends to chalk up, Enyedi has done a bang-up job!
Experimental but mesmerizing, compendious yet idiosyncratic, and particularly has a unique eye for lightning and mise-en-scène, MY TWIENTH CENTURY is a symphonic pastiche of cinematic tricks and an unsparing feminist manifesto beckons for a more effervescent reception.
referential points: Vera Chytilová’s DAISIES (1966) 7.6/10; Jaromil Jires’ VALERIE AND HER WEEK OF WONDERS (1970) 6.9/10
《我的二十世紀(jì)》是一部以20世紀(jì)初歐洲社會變革為背景的電影。故事圍繞著一對孿生姐妹展開，她們選擇了完全不同的生活道路。一個(gè)成為了富人們心目中的名媛，以勾引富有男人為樂；而另一個(gè)則成為了無政府主義者，從事恐怖活動，甚至身上綁著炸藥。然而，命運(yùn)卻將她們引導(dǎo)到了同一輛東方快車上，并且她們還與同一個(gè)男人發(fā)生了關(guān)系，卻并不知情。當(dāng)她們最終面對面相遇時(shí)，她們都放下了先前的習(xí)性，成為了真正獨(dú)立的女性。電影以喜劇的方式展現(xiàn)了這一獨(dú)特的故事情節(jié)。通過對20世紀(jì)初歐洲社會變革的描繪，觀眾們可以感受到那個(gè)時(shí)代的動蕩和變革。同時(shí)，影片也通過姐妹們的命運(yùn)交錯，探討了女性獨(dú)立和自主的主題?！段业亩兰o(jì)》以其獨(dú)特的劇情和喜劇元素，為觀眾們帶來了一場獨(dú)特的觀影體驗(yàn)。影片通過對姐妹們的成長和轉(zhuǎn)變的描繪，向觀眾們展示了女性在社會變革中的力量和堅(jiān)韌。這是一部值得觀看的電影，它不僅給人帶來歡樂，還讓人思考和反思。
English Title: My Twentieth CenturyOriginal Title: Az én XX. századom
Year: 1989
Country: Hungary, West Germany, Cuba
Language: Hungarian
Genre: Comedy, Drama
Director/Writer: Ildikó Enyedi
Music: László Vidovszky
Cinematography: Tibor Máthé
Cast:
Dorota Segda
Oleg Yankovskiy
Paulus Manker
Péter Andorai
Gábor Máté
Rating: 7.2/10
Hungarian female director Ildikó Enyedi’s ON BODY AND SOUL (2017), her first feature in 18 years, is the recipient of 2017 Golden Berlin Bear, so it is high time to reappraise her under-seen body of work, here comes her dazzling Black-and-White feature debut MY TWENTIETH CENTURY.
Capitalizing on the monochromatic mystique of a bygone era, the story focuses on identical twins Dora and Lili (Segda, a ), born in 1880, after their mother died and selling matches on a freezing cold night in Budapest, they are snatched away and lead separate lives. Their path will converge again in 1900, the turn of the century on the Oriental Express. Dora, a pert minx, dallies her way through men’s courtship and rooks them as much as she can, whereas Lili, a dour-looking revolutionist, carries on a bomb-attacking mission with steely resolution. Unbeknown to each other, both’s lives will soon be entangled with a mysterious middle-aged man Z (Yankovskiy, a magnetic cipher-like presence), a constellation of vignettes are engendered by alternating between Dora and Lili in their aggressive/passive sexual/power tugs-of-war with an inscrutable Z: playing hard to get, coquettishly libidinous, complete obedient, that is the gist of femininity’s unabashed duality, as a riposte to the sidebar, where the young Austrian philosopher Otto Weininger (played by Paulus Manker with gusto and ridicule), who would kill himself in 1903 at the age of 23, rants about his misogynistic take on women’s “whore/mother” dichotomy in front of a flock of suffragettes. In the hyper-surreal denouement, Dora and Lili finally meet inside a hall of mirrors (a motif almost runs to platitude), later arrives Z, ushered by a mule, a metaphor of men’s intransigence and if one recalls, it also heralds the twins’ separation at the first place.
The surreal touch is what makes Enyedi’s daring debut a novelty, picking up the baton from erstwhile Mitteleuropa New Wave standard bearers (Vera Chytilová’s DAISIES 1966, Jaromil Jires’ VALERIE AND HER WEEK OF WONDERS 1970, to name a few within the knowledge of this reviewer), Enyedi interpolates these elements to impart her rumination on more abstract aspects: nature vs. human (the monologue of a Zoo-trapped chimp, a lab dog on the lam confronting a railway train, other topographic arrangements), cosmology (Greek chorus of glistening stars), and technology (Edison’s discovery opens and bookends the film, cinematograph, etc.), but this smorgasbord of ideas and conceptions fail to organically connect with the diegesis, a rookie indulgence for starters, often bite off more than one can chew - making every film as the last one. This approach does impinge on the cohesion of its central narrative, which could have been marshaled into a more scintillating doppelg?nger charade. Yet, if eccentricity and diverse nuggets are what the filmmaker intends to chalk up, Enyedi has done a bang-up job!
Experimental but mesmerizing, compendious yet idiosyncratic, and particularly has a unique eye for lightning and mise-en-scène, MY TWIENTH CENTURY is a symphonic pastiche of cinematic tricks and an unsparing feminist manifesto beckons for a more effervescent reception.
referential points: Vera Chytilová’s DAISIES (1966) 7.6/10; Jaromil Jires’ VALERIE AND HER WEEK OF WONDERS (1970) 6.9/10
