تاریخ انتشار : دوشنبه 29 فروردین 1401 - 11:10
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کد خبر : 196878

دانلود زیرنویس فیلم The Names of the Flowers 2019 – بلو سابتایتل

دانلود زیرنویس فیلم The Names of the Flowers 2019 – بلو سابتایتل

دانلود زیرنویس فیلم The Names of the Flowers 2019 در میان زمین های باشکوه بولیوی، فیلمی شاعرانه والایی در حال رخ دادن است. نام‌های گل‌ها / لوس نومبرس د لاس فلورس، پرتره داستانی بلندی از یک روستا با استنباط‌های تمثیلی از دیاسپورا و مغالطه سیاسی، در زیبایی‌شناسی ژانر مستند تلخ فیلم‌برداری شده است. برای دانلود

دانلود زیرنویس فیلم The Names of the Flowers 2019 در میان زمین های باشکوه بولیوی، فیلمی شاعرانه والایی در حال رخ دادن است. نام‌های گل‌ها / لوس نومبرس د لاس فلورس، پرتره داستانی بلندی از یک روستا با استنباط‌های تمثیلی از دیاسپورا و مغالطه سیاسی، در زیبایی‌شناسی ژانر مستند تلخ فیلم‌برداری شده است.

برای دانلود به لینک زیر مراجعه کنید

https://blue-subtitle.com/the-names-of-the-flowers-2019/

The Names of Flowers — GreenGround productions

زیرنویس فیلم The Names of the Flowers 2019 بهمن طاووسی با الهام از نئورئالیسم و ​​به کارگیری تئاتری بی حرکت، تحقیقی درباره شرایط قبل از مرگ شهید افسانه ای انقلابی، چه گوارا نوشته است. مناظر خشک و خشن زمینه ساز این داستان مبهم یک معلم روستایی است که با ال چه ملاقات کرد و یک غذای ساده از یک کاسه سوپ را برای او فراهم کرد که الهام بخش انقلابیون برای سرودن شعر، قطعه عنوان فیلم بود.

وجه تمایز این فیلم از نمایشهای تماشایی و افراطی ژانر داستانی روایی، آرامش آن است که با کارگردانی مثال زدنی دوربین به تصویر کشیده شده است. شخصیت‌های دهکده بدون هنر فنی آشکار می‌شوند، موقعیت و سختی‌های پیش پا افتاده‌ی آن‌ها تنها با سکانس‌های بصری به تصویر کشیده می‌شوند و مخاطب به طلسم پوچی و واقع‌گرایی کشیده می‌شود. روایت اصلی با تصاویر تکه تکه ای آمیخته شده است که یک تعلیق بصری را حفظ می کند. ادعاهای جالب زن روستایی گمنامی که گفته می شود قبل از ترور شهید را دریافت کرده و به او غذا داده است، در طول فیلم در حال تغییر است، در حالی که ارقام به ساخت روایت جان می دهند.

هیچ قهرمان مشخصی وجود ندارد. یک زن مسن، مادر پسری لال، در طول فیلم ظاهر می شود. فضای داخلی تیره محل سکونت او، یک خانه خشت اسپارتی از خشت و آجر، شاهدی خاموش از فقر شدید منطقه است. فرزند او که یک فرد اجتماعی نامناسب است، سرگردان است و به طور تصادفی از او فیلم گرفته می شود و در وسایل نقلیه متروکه یا فضاهای باز مجاور روستا بازی می کند. حضور او بر پوچ بودن پیش‌فرض پشت تحقیقات پلیس تاکید می‌کند، زیرا پژواک سیاسی یک حکومت نظامی منحله در حافظه فیلم جاسازی شده است.

زیبایی شناسی و سرعت فیلم یادآور آثار آنتونیونی یا کیارستمی است. دوربین ایستا سکون شاعرانه زندگی را جذب می کند. درخشندگی سطوح مشترک زمانی که فضای داخلی روستایی و منظره باشکوه، فریم به فریم، در کشش بصری زیربنایی قرار می‌گیرند، منعکس می‌شود. توجه به نور ممکن است شبیه به ورمیر باشد و کیفیتی نقاشی به دست می آید که به طور مداوم در سراسر افق بصری دوربین وجود دارد.

The Names of the Flowers (2019) | MUBI

زیرنویس The Names of the Flowers 2019 نبود کودکی که استعداد موسیقی دارد، سایه زن سالخورده در پرتره را فرا می گیرد. شوخی احمقانه مقامات کشوری که قصد دارند شهادت شهید را جشن بگیرند، طنین انداز است. شبح چه گوارا قاب داستان را می‌سازد، با این حال سخنرانی استادانه بهمن طاووسی، مخاطب را وادار می‌کند تا در جنبه‌های مسخره و شکننده شرایط انسانی تأمل کند.

هویت قهرمان هرگز کاملاً تأیید نمی شود. ابهام از افتخارات به او اعطا می شود محکوم به شکست است. آنچه در زندگی روستاییان واقعی به‌عنوان یک حضور بی‌نظیر و خوش‌خطر ظاهر می‌شود، دوگانگی آسان خاطره و تلاش‌های ظاهراً مفید بقایای سیاسی حکومت نظامی است. شخص به تعجب در مورد وضعیت واقعی امور در بولیوی امروزی سوق داده می شود – به ویژه پس از اینکه بیشتر مجذوب ادغام گویش بومی در فیلم، اصالت غیربازیگرانی که اکثر نقش ها را بازی کرده اند، و جزئیات بافتی فیلم فیلمبرداری

شاعرانگی های بصری، خاطره ای گویا و فضایی را به نمایش می گذارند و بر موازی بودن تصویر و روایت تأکید دارند: هنر فیلم. زیرمتن جدایی و انزوا در میان فلات داخلی بولیوی، که طاووسی از طریق تأثیر بصری جنبش سینمایی استنباط می‌کند، پوچی آرام شخصیت‌هایی را که از راه می‌رسند، در هم آمیخته با نقش عینی کارآگاه پلیس که به نظر می‌رسد در حال بررسی جرم است. ، اما افسانه

شیوه داستان‌گویی به‌ویژه گریزان است: مونتاژ فیلمی (که نشان‌دهنده رویکرد گدار است) از تصاویر غیر نمادین برای تعلیق یک داستان بدون آغاز، میانه یا پایان قطعی استفاده می‌کند. این فیلم ممکن است متضمن تأثیرات رئالیسم جادویی باشد، زیرا بخش‌هایی از روایت چرخه‌ای به نظر می‌رسد، در حالی که دستاورد کلی همچنان یکی از تعالی و تلفیق امر سیاسی با امر اجتماعی است. افسانه چه بیدار شد، نخ در یک حرکت اپیزودیک غیر خطی باز می شود.

این فیلم اساساً از نظر بصری اپیزودیک است. با برتری دوربین و نمایش منظره، تلاش اصلی برای تعیین هویت «آنتاگونیست» که برای شخصیت افسانه‌ای آزادی فراملی آمریکای جنوبی سوپ سرو می‌کرد، به سایه‌ای کم رنگ از خودش تبدیل می‌شود. سخاوت مسئولانی که برای برگزاری مراسم یادبود و ادای احترام به دستاورد اسطوره ای روستایی که در آخرین روزهای بیداری میزبان شهید بود، مشخص است. صحنه ها با حس بخل و طنز خرابکارانه طنین انداز می شوند.

THE NAMES OF THE FLOWERS Clip | PÖFF 2019 - YouTube

بازجویی‌های پراکنده با آرامش آغاز می‌شوند، تا جایی که ممکن است عاری از تهدید هستند، که توسط چهره‌های طیفی و بی‌حساب هدایت می‌شوند که در میان چشم‌انداز گسترده و رواقی شخصیت‌های دهکده، قدرتی پراکنده و غیرممکن را منعکس می‌کنند. با تلاش آنها برای زنده کردن و ایجاد یک بت، اسطوره از بین می رود. به نظر می رسد که هیچ صدای جمعی از جامعه وجود ندارد، فقط افرادی هستند که در انزوای پیش پا افتاده اما صمیمی یک مدرسه، همراه با روایتی در مورد بیهودگی صحت در چنین داستان غیرمتعارف و غیرخطی معرفی شده اند.

نام‌های گل‌ها تصویری تخیلی قدرتمند از دورانی را تداعی می‌کند که در آن فیلم‌سازی و فیلم‌برداری ظریف به عنوان نیروی پیشینی در ارتباط یک داستان اسطوره‌ای ظاهر می‌شوند. واضح است که بداهه نوازی با منظره رویایی و اشتباهی که به گونه ای تداعی کننده برگسون بافته شده است جایگزین یک فیلمنامه سنتی می شود.

ما در سرزمینی دور غوطه ور هستیم، یک کپسوله فرهنگی که در کنار تلفات زمان، پارادوکس تحقیقات پزشکی قانونی و افسانه های خیالی قرار گرفته است. آنچه با سکوت مؤکد و متفکرانه ساخته شده است، همبستگی فقدان زمان خطی و ابدی تصویر است. ما با سخنان شاعرانه‌ی چه پیش از مرگش مانده‌ایم، زمانی که – با ناراحتی از دریافت یک غذای ساده – نام گل‌ها را می‌شمرد. این فیلم حسی از گرما و نوستالژی بی حاصل را القا می کند، زیرا با کنایه ای ظریف آشکار می شود و از زندگی در نسلی صحبت می کند که از بین رفته است.

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