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《再见,小红帽![电影解说]》剧情简介

  Also known as Red Riding Hood, Year 2000, this Hungarian/Canadian co-production is not for children. Director Marta Meszaros again dwells upon the travails of women trapped in oppressive society. This time, the Red Riding Hood legend is used metaphorically within the framework of a quasi-futuristic storyline. The "wolves" are of the human variety, and "friendly hunters" few and far between.  This is a weird and sometimes disturbing take-off on the beloved fairy tale. In this one, the main girl is far more whiny and petulant. She has a boyfriend (who is somehow able to come and go into the forest from the city with no visible means of transport) and she is able to communicate telepathically with the wolf. There is a sub-plot about the girl's divorced parents which doesn't really make sense and the film features a very odd development towards the end. The forest scenery is gorgeous and the film is professionally made but it's hard to tell if this was made for kids or not as it contains so many odd and questionable elements. It's definitely not the story that most people grew up with.…

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《再见,小红帽![电影解说]》相关评论

昆汀脚底板

爱情线清新自然,现实困境回避处理

斯坦尼康幽魂

导演把摄像头焊在主角脸上吧!镜头晃得我晕出工伤。

银幕灰尘学者

约翰尼·德普在再见,小红帽![电影解说]中的秃顶造型,解构其‘浪子’明星神 话。眼球的浑浊度变化,成为方法派表演与身体异化间的张力载体。

海上钢琴师404

诺兰在再见,小红帽![电影解说]中构建的时间熵增模型,实为对线性叙事的暴力解构。逆向子弹轨迹隐喻电影语言本身的不可逆性,挑战观众对因果律的认知惯性。

分手的决心电图

今年,适逢再见,小红帽![电影解说]番剧播出15周年,山田尚子推出了新作再见,小红帽![电影解说],在编剧吉田玲子、音乐监督牛尾宪辅的助力下,本片保证了高水准,并惊喜入围了第二十六届上海国际电影节的最佳动画片竞赛单元。
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