《十分钟年华老去：大提琴篇》的影评10篇

　　《十分钟年华老去：大提琴篇》是一部由贝纳尔多·贝托鲁奇 / 克莱尔·德尼 / 迈克·菲吉斯 / 让-执导，瓦莱丽亚·布鲁尼·泰德斯基 / Amit Arroz / Mark Long主演的一部剧情 / 歌舞 / 爱情 / 科幻类型的电影，文章吧小编精心整理的一些观众的影评，希望对大家能有帮助。

　　《十分钟年华老去：大提琴篇》影评(一)：十分钟得到什么、失去什么？

贝纳尔多·贝托鲁奇-水的故事7分：人之宿命，经历爱情婚姻家庭，回归神的怀抱。

迈克·菲吉斯-关于时间4分：蒙太奇的四个画面。。没看懂

伊利·曼佐-一瞬间8分：老电影明星回忆年轻时拍各种戏。人在上年纪后总是自觉不自觉的会追忆往昔不再回转的峥嵘岁月。

伊斯特凡·萨博-十分钟后6分：热切盼望丈夫回来庆祝纪念日，却不料刺伤醉酒行凶的丈夫而被抓。这部太刻意。。

克莱尔·德尼-面对南茜5分：女孩与哲学家对话，同座位黑人在车厢游荡。。难道暗示黑人没文化，不好学，听不懂吗？

福尔克·施隆多夫-启迪7分：探讨时间是什么？且一天内发生的事。所有生命都终将走向死亡。

迈克尔·莱德福-沉溺于星8分：时间对地球上的人类如此重要，在广袤的宇宙却变得缓慢而渺小。电影画面感很强。

让-吕克·戈达尔-在时间的黑暗之中10分：青春的最后几分钟、勇气的最后几分钟、思想的最后几分钟、记忆的最后几分钟、爱情的最后几分钟、沉默的最后几分钟、故事的最后几分钟、恐惧的最后几分钟、永恒的最后几分钟、影片的最后几句分钟。不亏是戈达尔很红色，也令人思索。

　　《十分钟年华老去：大提琴篇》影评(二)：《沉溺于星》

O-O好像不是通常情况的剧透……就……清清脑洞而已||||
冲着丹妞的，只看了沉溺于星，分就只打给沉溺于星
《沉溺于星》-★★★★★：
       Cecil Thomas毕生都沉溺于星际中，他的时间都花在时空旅行上，不在任何一个时空里，他喜欢在一个时空里拿走一样东西将其带到另一个时空。这次他见到自己行将离世的儿子，心中的某根弦被波动，他终于意识到他离开这个时空太久。他走过去抱着他80多岁的儿子流下了眼泪。
       接着他离开了，像曾经的无数次一样。从未想过留下来的心情此刻显得有点微妙，仿佛刚才抱着儿子哭泣的不是自己。
       他像被强迫的一样继续着星际旅行，他是时间的祭品。
       -爸爸，我爱你。
       -再见，Martin。时间之神，我已属于他。
导演泥难道想讲的故事不是这样子的吗这样子的吗这样子的吗吗吗！这BGM！这丹妞(http://ww4.sinaimg.cn/bmiddle/aaff8e3djw1e3pbea06lyj.jpg)！请让我成为时间啊啊啊TAT【喂】

　　《十分钟年华老去：大提琴篇》影评(三)：《大提琴篇：水的故事》

伊始的谜面：“那就像是群山，穿越几百年，将起伏不定，就像水中的波纹。”

本片名为《水的故事》，因为水始终出现在男主角一生中的所有重要场合。一开始，来自印度的男主角偷渡进入意大利。在队伍前行的途中，他因为口渴离开了同伴。（途中遇到一位在树下吹琴的老人，“布鲁，这是我的名字。你认识我吗？”男主角没理睬，默默地走开了。这点很重要，稍后再说。）来到河边喝水的时候听见了女主角因为摩托车失灵愤怒的怨骂声，借着修车的机会认识了女主角。这是两人的相遇。

之后女主角将男主角带进了自己的酒吧。这里给了一个女孩怀有敌意的眼神的特写镜头，女孩与女主角是母女关系（稍后证明）。男女主角因为语言不通而沟通不畅，女主角露出很失落的眼神。突然她想到了什么，拉走了男主角。此时画面又落在酒吧的一副画上，是一个牛仔打扮的男人横卧在花丛中。这一点证明女主角之前的生活中是有这个男人的。

女主角带着男主角干什么去了呢？洗澡。哗哗的水流象征着男女主角感情的升华，镜头停留在男主角的下半身也有着强烈的性暗示。借着画面一切，男主角和挺着大肚子的女主角在一片悠扬的管弦乐中翩翩起舞。一曲舞毕，男主角又牵着女主角坐下聆听印度婚礼上的传统奏乐。男主陶醉在其中，回头给了爱人一个快乐的眼神；女主角则并不那么开心，回了一个很诡异很勉强的笑容。突然，坐在女主角身后的女孩像是发现了什么，低头向下看；女主角也渐渐意识到了，呼叫坐在前排的男主角：她的羊水破了。这是影片第三次出现了水。这一次，男主角要当父亲了。

一个正在虔诚地念经的小男孩出现在镜头里。另一旁是他作为印度教信徒的父亲在虔诚地拜着梵天。突然这种宁静被一阵尖锐刺耳的汽车鸣笛打断，女孩匆忙地为车加油。加油时，她顺便借着后视镜，摆弄着自己脸部的装饰：耳钉、鼻环和唇环，还有choker和一头的脏辫（这里总结下说女孩和女主角是母女关系的原因。首先是女孩第一次见到男主角时露出的怀有敌意的眼神。这是一种对于长期只有两个人互相依赖生活的稳定关系被第三者介入的不安感，因此排除姐妹关系。其次，女孩参与了这个家庭每一个重要的场合。最后，按照男主角儿子现在的年龄来算，女孩当年不过十四五岁，使用童工是犯法的，故排除雇佣关系。只可能是母女关系）曾经单纯甜美的女孩不见了。酒吧内的母亲正在为客人倒啤酒，镜头特写客人握住了女主角的手，和女主角对此习以为常冷漠麻木的表情。啤酒说明男女主角的婚姻出现了危机，也就是常说的“七年之痒”。

不过还是能有事情使女主角兴奋起来的：家里添了一部新车。欢快的印度乐曲响起，却戛然而止：车落水了。第五次出现水，代表男主角财富的损失。再加上前面妻子的出轨与不忠，男主角仿佛又回到了多年前偷渡来此一无所有的状态。突然，男主角发现汽车落水的地方正是当年他来到这里喝水并且邂逅了女主角的地方（导演的安排就是这么巧妙）。在妻子不解的眼神中，他顺着印象中的路，再一次找到了当年在树下吹琴的老人。老人淡淡地说，“我就知道你回来。人生路漫漫，终有不如意的时候。”男主角猛然醒悟，跪倒在老人膝前，久久不曾起身。老人轻抚他的头，此时镜头又给了牛清澈的眼睛一个特写（第一次两人相遇，男主角不屑一顾地离开时，也出现了牛的眼睛）。最后，镜头在一条驶向远方的列车上结束。全剧终。

纵观全片，第一个想要表达的主题是人生如水，起伏不定，喜悲无常。第二个层面是导演贝托鲁奇刻意突出的东西方文化的对比，并且表明了他站在东方文化的立场，反对西方文化的浮躁。比如在那场中西合璧的婚礼上，就着管弦乐跳着交际舞时，女主角是兴奋的、释放自我的；到了传统的印度婚礼上，她则陷入了沉默。一方面也许是她不由自主地想到了上一场婚礼的场景，另一方面更多地则是女主角却是对东方婚礼文化没有兴趣。在例如导演对于儿子和继女形象的刻画。儿子受传统的父亲的影响，年纪小小已经是一个虔诚的信徒了；另一阵营是追求个性的特立独行的朋克继女和在大庭广众之下公然调情还对此习以为常的母亲。还有一处有趣的细节，酒吧的门帘拉下时，一扇上是一幅大象的图画，另一扇是一幅文艺复兴时期题材的油画。

然而本片最深层次的主题是宗教。照应谜面，只有皈依宗教才可以实现永恒，无论是精神上的生命永恒，还是佛教所宣扬的有轮回的物质上的生命。释加牟尼在一颗菩提树下实现了超我的追求，因此本片还可以有另一种解释，既老人是男人本身，在回忆自己一生的过程中，化出了分身以辅助自我的升华。

　　《十分钟年华老去：大提琴篇》影评(四)：一眼万年与十分钟年华老去

1.Histoire d'eaux
贝纳尔多·贝托鲁奇是一个很擅长诠释的导演。
we met
we love
we married
we raise
we aged
我会想到著名的阿普三部曲。
2.About Time 2
你有没有发现打字者是个二指禅？
然后我果断没看懂。
3.One Moment
配乐完美
多想一切都是午后躺在草地上的一个梦啊。
我还年轻
你也不老
我还可以吻你的双唇
我还有梦想和远方
生活还有那么多希望
4.Ten Minutes After
现在你们知道酗酒和家暴的关系了么？
5.Vers Nancy
文艺老男人和女青年的叽叽歪歪。
如果你旅行过
你一定明白他说的
累和满足
当然还有探险
当然可能什么也没有
还可能被拐卖去盲山
不过最有可能的是你的对面坐着一个叨逼叨逼的老男人
黑人兄弟说
我就喜欢静静地看你们装逼
6.The Enlightenment
昨日兮昨日
昨日何其好
今日复今日
今日何其少
明日复明日
明日何其多
7.Addicted to the Stars
这货不就是星际穿越的原型麽 ？
8.Dans le noir du temps
在时间的黑暗之中
de la jeunesse
du courage
de la pensee
de la memoire
de l‘amour
du silence
de l'histoire
de la peur
de l'eternel
du cinema
.......

　　《十分钟年华老去：大提琴篇》影评(五)：仅言《沉溺于星》

    《沉溺于星》是《十分钟年华老去 大提琴篇》的第七部，导演是英国的Michael Radford，英文片名《Addicted to the Stars》。
    看了两遍，才大概觉得自己有话可说。然后在说自己的话之前，逛了一下豆瓣，想看看各路大神有何精辟见解。但看到一些文章，有点哭笑不得，当然，也有点小小困惑。
    主人公塞西尔•托马斯（Cecil Thomas），是一位宇航员，进行了一次时间长度为10分钟的时空穿越。精确的仪表上，显示的起始年份是2086年，终止于2146年，中间横跨了60年，穿越距离80光年。哭笑不得之处就在这里，很多文章都说塞西尔穿越了80年，事实上，光年是长度单位，不是时间单位。穿越年数不是80年，个人觉得是60年，除了是因为2146减去2086等于60之外，也因为宇航员搭坐的太空飞船确实有显示60这个数字，至于是否我眼花，我不敢确定。所以我的困惑也出在这里，因为后文里还有提到，当塞西尔洗完澡后，问机器人小姐你在这多久了，机器人小姐说大约40年了。我在想，为什么这个两个时间不吻合呢？也许，根本就没有联系吧。好了，这点细节就无需再深入探究了。
    说回主题。这仅仅是一个10分钟左右的小短片，但影片所要表现的内涵足够深刻。看完之后，很大程度上，觉得这是爱因斯坦相对论的光影诠释，生动多了。脑海里盘旋最多的语词就是时间错位的亲情。感觉有点“子欲养而亲不待”的味道，只是这次是“父欲养而子不待”，父亲才35岁，而儿子却已是垂垂老矣。观者也许甚无感觉，但设身处地想一想，方知那是怎样一种无言的失落与心酸，会否痛彻心扉，还是哀莫大于心死？但又不至于，是一种无力的控诉吧。
    马丁说：“我等了你好久。”这句话一出，举目都是悲凉。塞西尔临走前，儿子又醒了，说了句“爸爸，我爱你”，真的难以想象那时塞西尔的心情。塞西尔选择离去，继续漂泊。人本是需要亲情的，然而有份就快消逝的亲情摆在那里，不作最后的珍惜，唱一阙挽歌，却硬生生地转身离去，这又是为何？
    他继续走在无人步行的地下通道，整个地道的阴森清冷扑面而至，置身于仿佛让人喘不过气的冰冷时空，这里再也没有了亲情，这里的人再也不用步行，这里的一切都不是那熟悉的一切。
    你能想象一下，当你正茂风华，而你心目中那原本巧笑倩兮，美目盼兮的伊人却恍惚已至人老珠黄之岁，那种苦楚，怎堪承受。唯有逃离，逃离不是冷漠，逃离不是自私，逃离不是刻薄。逃离是因为控诉，因为无力，所以只能逃离。这个世界原本不是这样子的啊。
    飞上九天苍穹，一朝潇洒而至。你可以穿越到任何时空的万水千山，只是再也寻不回当初的生活。你可以永垂不朽，再不语生老病死，但你每多一次穿越，都加剧了你与最初时空的叛离程度。你最熟悉的东西离弃了你，你穿越而获的新时空，你又无法融入。看到豆瓣有这么一句话，说得好极了：时间只是我们思考出来的定义，真正存在的是生命。
    所以即便我们可以穿越到未来，但在未来，我们并不是一个完整的人。我们的生命仅存于当下，因为生命是无法穿越的。未来的时空没有我们的所需，没有爱，没有熟悉而言，以往再强烈的情感胎记都会被冷漠的时空洗刷得一干二净。
    所以，塞西尔作为父亲，竟然比儿子年轻数十年，多么荒诞，但又多么真实，这种情况，谁敢保证真的不会存在？即便以形而下的角度而言，它还较难出现，但从形而上的意义上出发，它早就出现了。
最终，穿越即意味着放逐，对自我的放逐。既然不能接受未来的时空，就只能被未来的时空所抛弃。去不到的未来，回不去的过去，除了逃离，还能如何，便是此生自逐于茫茫天宇间了。
    后记：《沉溺于星》从字面上理解大概也就是假命题吧，沉溺于星，无非是再难自拔而已。

　　《十分钟年华老去：大提琴篇》影评(六)：How do you explain TIME in ten minutes （trumpet&Cello, Schloendoff, Wenders and Herzog）

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.

　　《十分钟年华老去：大提琴篇》影评(七)：昏黄的破碎

      大提琴，就像一个人行将就木时，在寒风呼啸的雪夜，在温暖的壁炉旁，坐在摇椅上，在童年的梦中醒来，抬起头看了看周围的景象，燃烧的火焰偶尔发出爆裂的声音，然后又低下头，继而是鼾声。
      我最喜欢戈达尔的篇章，因为他知道，一切都是破碎的。就像我不喜欢沃尔克施隆多夫的那篇，尽是些浅薄乏味的旁白，我们的生命不过是一股时间流，而回忆都是生命的破碎。伊斯特凡萨伯的故事讲述一种没有希望的生活，杀与不杀已经不重要了，死与不死都是一种结局，怀有脆弱的希望是不对的，易碎品在存在之前就已经破裂。大提琴应当是归于平静，贝托鲁奇的篇章就叫黄粱一梦，尘归尘土归土。年轻人没有停留在布鲁身边，寻找另一种奇遇，在出车祸之前一切都很好，妻子孩子家庭生活以及信仰。车子落水就像梦中突然周身一颤，一切不再是所想的那么美好，一旦产生怀疑，梦也就不复存在了。年轻人回到布鲁身旁，跪在他身旁，树下像是隐喻，象征彻悟人生，随后火车呼啸而过。真实与否不重要，人生已是最大的迷梦，走了多远的路都一样，重要的找到自我。
      分个段，没有任何条理和逻辑。迈克尔菲吉斯那篇，四个镜头犹如四个摄像头，是一个作家在写作中审视自己的一生，父母，青春，童年。这些都是他的臆想，抑或生命中的那些往昔臆想了他？可是，一切都失去了，唯一存在的天堂就是已经失落的天堂。他在楼梯口的回顾和那副女人的相片一样，都已经消失在记忆的深处了。
      最让我感怀的是伊利曼佐的篇章，真真正正让我听到了生命流逝的声音。青春的一切都那么美好，年轻的男女都闪着光芒，充满了希望，“我的青春将战胜一切”。后来老头那生无可恋的眼神，让我深觉恐慌，不能这样，你应当是活过的，"I was really alive"。梦中惊醒，然后继续沉睡，生命中最好的时光都已逝去。最令人心酸的是，两个身材姣好穿着短裙的姑娘骑着单车从老头的眼前路过，丰乳肥臀大白腿，他一副扶我起来试试的表情，却被铁丝扎到了，廉颇老矣，一切都在阳痿中结束了。黑暗，黑暗，死前无闻死后无声。尘归尘，土归土。24岁，可这并没有什么值得高兴的。
       迈克尔雷福德那个是来凑数的么，赔我的大提琴。
       克莱尔丹尼斯，让我有了新的想法，我要拒绝这样的对话。巴拉巴拉巴拉，每一次镜头给到黑人，我都会从他们的对话中走神，然后把注意力给在这个抽烟的朋友身上。导演或许是有意为之，很认真的以对话作为剧情的短片，一定别有用心。从街道入口，吹向深处的，不是哲学，是诗。
       是诗。
                                               It was as if the mountains
                                       when seen through many millenniums
                                                    would rise and fall
                                                    like waves in water.
   
                                              The Mythology of Vishnu
       

　　《十分钟年华老去：大提琴篇》影评(八)：十分钟风格练习

——“大提琴，就像一个人行将就木时，在寒风呼啸的雪夜，在温暖的壁炉旁，坐在摇椅上，在童年的梦中醒来，抬起头看了看周围的景象，燃烧的火焰偶尔发出爆裂的声音，然后又低下头，继而是鼾声。”@cancel
    贝托鲁奇的篇章，懵懵懂懂随着人群下了列车，被催逼赶打地滚了下来，人们往往这样匆忙略过年少的时间。在人生的中途男主遇到那个老人和那群牛，给了牛眼睛一个特写，接着便遇到了一个语言不通的女人。
    和听不懂他/她在说什么语言的伴侣共度一生是一件很浪漫的事情，不过如果听得懂他/她的语言却听不懂他/她在说什么，就毁了，完全不是一码事。初见时和摩托发脾气的女人镜头抓的相当动人，琐屑鄙俗的事件、暴躁尴尬的场面、算不上美的面庞，却一直有情欲意味在画面里。他们的故事理所当然，男人被带去洗澡的神情像一只被捡回家的流浪狗洗了第一个澡，他正式进入了这个世界。
    当有一天在他们最快乐的时候，车祸发生了。四口人都沉默地站在桥上看那车被拉出水面。但是这种直接冲到河里的车祸，他们如何可能生还呢？（那个女儿的长发都没有湿）他们是否已经死去？或者根本就没有活过？也许车祸是假的，也许整个故事是假的，也许生与死、真与假根本就没有界线。那个老人的笛声领他回去，这时与片头一样，意味深长地又给了牛的眼睛一个镜头。信仰印度教的男主角在牛群旁扑倒，而那温驯的大牲口默然的眼睛在神学意义上昭示着人的一生。
    迈克尔菲吉斯的篇章，电影作为一种表达手段优于文字尽在于此。意识流作为写作手法时，不同的支线不得不先后写出，最多交替闪现，但是这里四组镜头得以同时呈现，更接近人心灵的真实状况。往往是一个雷雨天，雨声、哭声、音乐声陪伴和解释了全部。父母作为人生苦难的庇护所永远留在我们的记忆里，仿佛仍然活着，带着衰老所特有的天真；他记起被战争扰动的童年，迷茫、恐惧、盼望长大（他曾试图追上成年的自己，我们年少时都受过这样残酷的引诱）；欲望、阳痿、又使欲望更加剧烈。楼梯，作为一个核心意象召唤出老者的记忆，全都在追赶，全都在丧失，全都带着急匆匆的步调。不要问任何问题，它们没有意义，只要carry on。
    片尾的四张面孔很有意味，最先是女人的脸模糊了，接着父母的脸黯淡了（前者是糊化后者是变暗，这个遗忘经过非常真实），最终剩下回忆主体年轻时的面孔，直到他突然消失。
    伊利曼佐的篇章，对于这个简洁的短片，感动和你一样，还记得看完这里 之后我就没有再看下去，泡在泳池里抽了半根雪茄，也是一个阴沉的浪到做不成朋友的午后。也许是bgm选的好，也许是那个以总分总格式出现的帅小伙太美好，也许是“our life is not a great dear longer”写的好...
    人的心理时间可以让一生如同一个长长懒懒的瞌睡，枝头饱满的果子引发了他对于青春的回忆，那些最快乐的时间过后，记忆转到女人身上：他亲吻一个姑娘成功了，放倒一个姑娘成功了，亲吻一个姑娘遭到了拒绝，被一个姑娘引诱了，和一个姑娘有预谋地互相引诱了....木心调侃说潘神很受现代文学的欢迎。也许只是对于普通人来说，情色最能够触动他深刻的记忆。就像暗示着生命力已经完全流逝一样，他看姑娘的愿望都被铁丝网刺破的时候，枝头最后一个摇摇晃晃的果子，掉下来砸了他的头。
    伊斯特凡萨博的篇章，最寂寞的bgm就是语言学习材料，最寂寞的事情就是边做家务边跟着材料学语言。这里叙述了一个偶然的故事，但偶然和特例其实就是普遍问题的一个缩影。被带走前她环顾那些曾经幸福的合影，就在这个镜头里导演点出了主题，成千上万个家庭的生活是如何一眨眼就变成了这样的荒诞脆弱和不可忍受。那几张黑白照是故事真正的主体，而这个短篇叙述的只是一个结局。总有一个让人感到彻底失去的瞬间，才成为发现十分钟年华老去的契机。
    克莱尔丹尼斯的篇章，在火车上的对话，是采访到达梦想之地的感受，谈了很多关于人生之旅的时空感。乘客们各怀心事听着男主侃侃而谈这些空话。真正的点题在最后的问题：我们还有多久到终点站？——十分钟。——你们谈的兴味盎然。——但时间会结束一切。
     虚浮作为人的生命常态，夸夸其谈的劲儿和一本正经的思考，活着的人总以为自己可以永远活着，但它短的就像即将到站的火车上的不安和尬聊一样可笑。
    沃尔克施隆多夫的篇章，这个其实很有趣，结尾的画面告诉观众，通篇的台词其实是奥格斯悌納的一首长诗，这个1600年前的诗人探讨“时间是什么”，和20世纪以来文人们不断使用的母题惊人的契合。这里的十分钟是蚊子的一生，蚊子从水里出生开始，飞到一个烧烤会上，害死了一个人，最后自己飞到灯里死掉了。蚊子的视角晃来晃去很烦人但是很逼真，蚊子念诵古代的诗句在荒谬的背后让人反思作为写下这些诗句的人类，我们对生命本身的认知水平跟蚊子也没什么两样。尤其结尾“将照亮我的黑暗，越来越亮，越来越亮”蚊子就应景地撞到灯上丧失了生命，不仅照应诗句，更和那个不慎撞到电线丧失了生命的那个男人奇妙地相似。导演似乎暗示我们，人类和人类最讨厌的蚊子没有太大不同。
    迈克尔雷福德的篇章，这里老去的是别人的年华。因为沉溺于星牺牲了陪伴自己最爱的儿子成长的机会，等他返回，那个热爱父亲的小男孩已经基本捱过了漫长的一生，同前面的两个一样，在这里未说出的情节才是留待观众想象的故事。对于观众、对于男主来说冷漠的十分钟，对这个人来说是等待和隐痛的一生。而做父亲的把星星上的石头放在他的房间里，把他的照片放在了星星上，他为了这个出卖了儿子一生的幸福，梦想？事业？责任？导演用标题说，那是比这些更深一层的欲望的，一种addiction。
    戈达尔的篇章，十分钟年华老去，极短的限定与老去的年华这样漫长的内容放在一起，导演从中提取“时间”这个现代以来常新的主题给出了回应，并直接跳过了表现命题悲哀意味的内容，转而直接探讨人们拿什么去应对这样的悲哀。“在时间的黑暗中点亮火把”。这里第一个片段解释了一切：时间像少女那样随意而天真地结束了我们的生命，尽管希望痛苦快一点结束，但她顽皮地折磨着我们，母亲作为庇护我们远离人生苦难的身份，象征着时间开始之处，我们在痛苦中渴望已回归来解脱，但她早已离我们远去。时间让一切都成为易逝的消耗品，死去的人，象征着思想的书本，像垃圾一样被丢了出去。最后的最后，一群人拥着黑暗中巨大的诡异的偶像，不知在纷争还是在狂欢（二者都差不多），以此来抵抗黑暗的时间。
     开头是剽窃一个正经人写的。我自己满脑子都是那首“听那叮铃铃的下课铃声送来十分钟，来吧大家都来轻松轻松”的儿歌。

　　《十分钟年华老去：大提琴篇》影评(九)：《在时间的黑暗里》英语文本（完整）

中文字幕实在离原片差得太远了 像瞎编的
从几版英文字幕里挑了一版作参考 一字一字敲下来
用[中扩号]标注了引用的片名与书名
除了二战资料片 其他片段基本都来自戈达尔自己的作品
Dans Le Noir Du Temps
In the Darkness of Time
by Jean-Luc Godard
[Film Clip: Forever Mozart]
Girl:
Why is it dark in the night？
Man:
Maybe the universe was once young like you,
and the sky was all ablaze.
As the world grew older, it grew further away.
When I look at the sky between the stars,
I only see what has disappeared.
The Last Minutes of the Youth
[Film Clip: Made in USA]
Girl:
If I talk about time,
it's because it doesn't exist.
If I talk about a place,
it's because it has disappeared.
If I talk about time,
it's because it doesn't exist anymore.
Women:
If you should die,
would you prefer to be warned or to die suddenly？
Boy:
Suddenly.
Mother...mother...
Girl:
If I talk about a man,
he will be dead soon.
Boy:
Oh, Paula, you've stolen my youth.
The Last Minutes of Courage
[Film Clip: The Second World War in Colour]
The Last Minutes of Thoughts
[Voiceover: Tractatus Logico-Philosophicus, by Wittgenstein]
Woman:
In "I think therefore I am",
The "I" of the "I think" is not the same as the "I" of the "I am".
Why？
The sensation I have of existence is not yet a "me".
It's an un-reflected sensation.
It's born within me, but without "me".
Man:
We can say nothing about nothing.
This is why the number of the books can't be limited.
All the bodies together, all the minds together,
and all their output are not worth the least expression of
charity.
This belongs to infinity.
The Last Minutes of the Memory
[Film Clip: Holocaust & Nazis Footage]
The Impreｓｃｒｉｐｔible
[Film Clip: Holocaust & Nazis Footage]
The Last Minutes of Love
[Film Clip: Bedroom Palace]
Woman:
Tell me when it's time to leave, time to die.
Oh yes, you are young, you are beautiful.
You have your strength, therefore try it.
Me, I'm going to die. Goodbye, goodbye.
I don't want to leave you, I don't want to take you back.
I want nothing, nothing at all.
I'm on my knees and my back is brocken.
I don't want to hear anything about it.
You hurt and offended me and as I had told you,
we don't love each other anymore,
we never loved each other.
The Last Minutes of Silence
[Film Clip: Le Petit Soldat]
Man:
Who did you phone？
What number？
What was the number？
What was the number？
Who did you phone？
What number did you dial？
What was the number？
Man:
What we cannot speak about,
we must pass over in silence.
The Last Minutes of History
[Film Clip: King Lear]
[Voiceover: The Waves, by Virginia Woolf]
Woman:
And in me too the wave rises.
It swells, it arches its back.
I am aware once more of the new desire.
Something rising beneath me.
Like the proud horse's rider,
first whispers and then holds it back.
Against you I'll fling myself,
and vanquish and unyielding.
Oh, death.
Man:
She's gone forever.
Woman:
She's gone forever.
Man:
She's gone forever.
Woman:
I know when one is dead, when one lives.
Man:
I know when one is dead, when one lives.
Woman:
She's dead as a doornail.
The Last Minutes of the Fear
[Film Clip: Le Colonne Chamanov]
Man:
And after, Prince Andrei answers himself,
I don't know what will be after.
I don't want to and I can't know it.
But if it's my wish, if I want glory,
if I want to be famous, if I want to be loved by people...
yet I'm not guilty to wish for it, to desire only that.
The Last Minutes of the Eternal
[Film Clip: The Gospel According to St. Matthew]
To Live As I Like
[Film Clip: Vivre Sa Vie]
The Last Minutes of Cinema
[Film Clip: The Old Place]
Last Vision
Night, he says.
Night, she says.
Night, they say.