To the literary purist, she is the sensual storyteller who penned semi-autobiographical tales of French Indochina, capturing the suffocating heat of forbidden romance. To the art-house cinephile, she is a radical auteur who took a sledgehammer to commercial filmmaking, stripping away plot to leave pure atmosphere behind.
So who is the real Marguerite Duras?
This May, Hong Kong audiences can answer this question for themselves. Marking 30 years since she died in 1996 at the age of 81, the city is celebrating both halves of her identity with a dual cinematic tribute.
The Hong Kong International Film Festival’s Cine Fan programme is screening six films adapted from her writing, while the French May Arts Festival is presenting six features she directed herself.
Taken together, these 12 films offer a comprehensive portrait of a woman who conquered the 20th century arts by refusing to be categorised. Duras was a visionary who treated the silver screen as a canvas for her haunting psychological experiments.
Understanding Duras requires looking past her reputation and stepping into the vivid, traumatic landscapes that forged her.
此内容由惯性聚合(RSS阅读器)自动聚合整理，仅供阅读参考。 原文来自 — 版权归原作者所有。