特写
| 导演： | 托尼诺·德·贝尔马尔蒂 |
| 主演： | 伊莎贝尔·于佩尔 |
| 制片国家/地区： | 意大利 |
| 类型： | 剧情 |
| 语言： | 法语 |
| 年代： | 2025 |
| 豆瓣评分： | 0 |
| 影伴评分： | 0 |
剧情简介
The French-language film will be shot with close-up camera angles and follow Huppert’s character as she takes on the role of successive female characters through several eras from the 17th century to the modern day. They will include a peasant in 1948, an early 20th-century emigrant, a witch consumed by flames in the late 17th century, a mystic and a woman navigating the challe... (展开全部)
The French-language film will be shot with close-up camera angles and follow Huppert’s character as she takes on the role of successive female characters through several eras from the 17th century to the modern day. They will include a peasant in 1948, an early 20th-century emigrant, a witch consumed by flames in the late 17th century, a mystic and a woman navigating the challenges of war.
Huppert told Screen the origins of the project lie with Medea Miracle, after which Bernardi “wanted to make another film that was just a close up of my face, using the face as a landscape, the face as a mechanism through which to tell a wider story about feminism through the centuries.”
The French-language film will be shot with close-up camera angles and follow Huppert’s character as she takes on the role of successive female characters through several eras from the 17th century to the modern day. They will include a peasant in 1948, an early 20th-century emigrant, a witch consumed by flames in the late 17th century, a mystic and a woman navigating the challe... (展开全部)
The French-language film will be shot with close-up camera angles and follow Huppert’s character as she takes on the role of successive female characters through several eras from the 17th century to the modern day. They will include a peasant in 1948, an early 20th-century emigrant, a witch consumed by flames in the late 17th century, a mystic and a woman navigating the challenges of war.
Huppert told Screen the origins of the project lie with Medea Miracle, after which Bernardi “wanted to make another film that was just a close up of my face, using the face as a landscape, the face as a mechanism through which to tell a wider story about feminism through the centuries.”
