欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 闭幕前一天，《酱园弄》的首映迎来了戛纳尾声的最大星光。那么今天，我和@忠泽 就来聊聊首映看完的感受，关于陈可辛曾经的泛亚洲制作计划、《酱园弄》成片如何出乎预料，章子怡、赵丽颖、杨幂等等明星在《酱园弄》中的表现究竟如何。 0:39 开胃菜 0:53 《狗阵》开门红！斩获狗狗金棕榈“评审团大奖”和一种关注大奖“最佳影片”两项荣誉 2:22 “一种关注”颁奖小乌龙 9:11 管虎再上路 9:46 主菜 10:31 《酱园弄》的长时间跨度与女性群像，而非单点聚焦 12:00 陈可辛的泛亚洲制作计划又回到大陆 13:30 女性人物的复杂性 15:50 易烊千玺的算命师傅角色为影像风格定调 16:08 针对“易烊千玺瞎子角色原创性”的说法勘误（下方时间轴或有细微偏差） 18:14 “酱园弄”内部空间的逼仄 18:39 外部视感——“上海堡垒”（这个梗由听友@雨后苹果树 贡献） 20:24 章子怡的“女鬼”妆造 21:47 和另外两部主竞赛影片的类比 23:04 悲剧命运的底色 26:59 陈可辛对于“酱园弄”故事的注脚 29:41 雷佳音的表演，将小丑进行到底 31:25 红毯上的章子怡跟银幕上章子怡的强烈对比 32:44 范伟的表演，因为太实了，反倒不确定 34:11 发型是理解赵丽颖角色的关键 36:06 空间特性对杨幂的表演助力很强 39:13 甜点 39:46 我们本届戛纳的主竞赛TOP3 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! 0:39 Appetizers 0:53 Black Dog opens its doors! Dogs of the Palme d'Or “Grand Jury Prize” and “Best Film” at the Un Certain Regard Awards. 2:22 A little oops on the One Concern awards. 9:11 Guan Hu on the road again 9:46 Main Course 10:31 The Long Time Span and Women's Portraits in She Got No Name, Not a Single Point of Focus 12:00 Chan Ho-Sun's Pan-Asian Production Program Returns to the Mainland 13:30 The complexity of female characters 15:50 Yi's Fortune Teller Character Sets the Style of the Film 18:14 The Cramped Interior Space of Jiang Yuan Lane 18:39 The external view - “Shanghai Fortress” 20:24 Zhang Ziyi's “female ghost” makeup. 21:47 Analogies to the other two films in the main competition 23:04 The undertones of tragic fate 26:59 Chan Ho-Sun's footnote to the story of She Got No Name. 29:41 Lei Jiayin's performance, clowning his way to the end 31:25 The contrast between Zhang Ziyi on the red carpet and on screen 32:44 Fan Wei's performance, because it is too real, but not sure 34:11 Hair style is key to understanding Zhao Liying's character 36:06 The spatial characterization aids Yang Mi's performance very strongly 39:13 The dessert 39:46 Our competition Top 3 for this year's Cannes

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 本期节目录制于刚刚看完伊朗金熊奖得主导演穆罕默德·拉索罗夫新作《神圣无花果之种》之后，在电影宫的媒体中心边等候赶场的时候。当时的心情非常激动，没多久就看到这部影片获得了3.4分最高的场刊分数，看来面对这种能量密度超强的电影文本，大家的感受还是能够共通的。 事后我们知道，本片获得第77届戛纳电影节“评审团特别奖”。针对这个奖项的授予，我们在评奖结果大解析的节目中有了详尽的讨论。这期节目，只纯粹聊聊电影。 1:16 开胃菜 1:40 震撼人心的场外信息：导演拉索罗夫来到戛纳后或将回国服刑8年 3:12 联想到年初柏林电影节《我最喜欢的蛋糕》，聊聊伊朗电影人当下的处境 3:27 拉索罗夫宁愿被关8年也要来戛纳首映的原因 5:28 主菜 5:45 开始对剧情梗概作简要说明（无法接受剧透请向后跳转） 6:47 家庭关系的分化 8:49 伊朗电影近年来的样态，“不怕死” 10:33 回到《神圣无花果之种》，公权+父权结合赋予角色超人统治力 12:42 女性形象的新式书写 20:05 甜点 20:10 《酱园弄》首映红毯我能进去吗？（最后没进去） Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! This episode was recorded while waiting to catch a screening of Iranian Golden Bear-winning director Mohammad Rasoulof's new film The Seed of the Sacred Fig by the Media Center at the Palais des Cinémas after having just watched the film. It was a very emotional time, and it didn't take long to see that the film had received the highest possible field score of 3.4, so it seems that we can all still share the same feelings when faced with a movie text of this superb energy density. Afterward, we learned that the film had won the Special Jury Prize at the 77th Cannes Film Festival. We discussed this award at length in our program on the jury's results. This episode is purely about movies. 1:16 Appetizers 1:40 Shocking off-site info: director Rasouloff may return to his home country to serve his 8-year sentence after coming to Cannes 3:12 Talking about the current situation of Iranian filmmakers in relation to “My Favorite Cake” at Berlinale earlier this year 3:27 The reason why Rasoulof preferred to be imprisoned for 8 years and came to Cannes for the premiere of his film 5:28 Main course 5:45 Starting with a brief synopsis of the plot (skip back if you can't handle spoilers) 6:47 The polarization of family relationships 8:49 Iranian cinema as it has been in recent years, “not afraid to die” 10:33 Returning to The Seed of the Sacred Fig, the combination of public + patriarchal power gives the character superhuman dominance 12:42 A new writing of femininity 20:05 Dessert 20:10 Can I get in on the red carpet for the premiere of Soy Sauce? (I didn't get in at the end.)

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 本届戛纳已经接近尾声，大家达成共识，确实是主竞赛入围影片平均质量较为拉垮的一届。尤其是一些名导新作，轮番地让我们失望。 就在这个时候，我们看到了肖恩·贝克导演的《阿诺拉》。这部电影延续导演一贯对性工作者的关注，然而主人公的年龄却下移到23岁。这是一个标志性的节点，意味着他的焦点终于清晰地对准了千禧一代。所谓跨越阶层的“美国梦”当然不变，但新鲜的是，新世代青年女性对于强权的态度，她们不再沦为附庸，哪怕是以抓马狗血、啼笑皆非的方式，也不失为一种充满活力的表达。 今天就跟@忠泽 一起，聊聊《阿诺拉》拿到场刊最高分的强大魅力来源何处。 0:31 开胃菜 1:14 戛纳主竞赛排片，午夜场没有好东西？ 4:56 在欧美国家看晚场电影散场后的遭遇 9:06 面对流浪汉，一定要擦亮眼睛 10:05 等公交车被人拿绿光笔晃的经历 14:16 主菜 14:29 《阿诺拉》女主名字的讨论 17:10 风月服务人员与寡头之子的激情故事 17:43 近年肖恩·贝克作品中女主角身份的连续性 19:18 阿诺拉在影片前半部分融入于环境之中 20:27 与《野性钻石》《霓虹恶魔》等同类年轻女性主角的作品类比 23:37 奢靡生活的加速享受 25:13 知道会有转折，但还是会为阿诺拉担心 26:59 看David Dobrick vlog 的观感，一些私人回忆 29:24 性生活的多义性 32:37 麻烦到来，闹翻天小队成立 34:35 女性力量和制度自信 42:24 类似对俄罗斯人描写有趣的美国片《俄罗斯方块》 43:29 素材积累，人文关怀 47:29 情理之中，意料之外的最终落点 50:58 延伸讨论好莱坞电影的工业体系，沉疴与创新并存 51:37 戛纳和好莱坞的共谋关系 55:46 甜点 56:05 《酱园弄》的首映场 57:25 戛纳首映场的着装要求 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! As this year's Cannes draws to a close, there is a consensus that the average quality of the films selected for the competition has indeed been a bit of a downer. In particular, some of the newer films from famous directors have been roundly disappointing us. It was at this point that we saw Anora, directed by Sean Baker. The movie continues the director's usual focus on sex workers, yet the age of the main character moves down to 23. This was a landmark point, meaning that his focus was finally clearly on the millennial generation. The so-called “American dream” of transcending class remains unchanged, but what is new is the attitude of the new generation of young women towards the powerful, who are no longer subordinate, even if it's in a gripping and hilarious way, which is still a vibrant expression. Join @Zhongze today as we talk about what makes “Anora” the highest rated movie in the field. 0:31 Appetizers 1:14 Cannes Competition scheduling, no good for midnight showings? 4:56 Encounters after a late movie in Europe and the US 9:06 Always keep your eyes peeled when confronted by a homeless person 10:05 Waiting for the bus and being shaken with a green pen 14:16 The main course 14:29 Discussion on the name of the female lead in Anora 17:10 Passionate tale of a pornographic industry waitress and the son of an oligarch 17:43 Continuity of heroine identity in recent years in Sean Baker's work 19:18 Anora's integration into her environment in the first half of the movie 20:27 Analogies to similar works with young female protagonists such as Wild Diamond and The Neon Demon 23:37 The accelerated enjoyment of an extravagant lifestyle 25:13 Knowing there will be a twist, but still worrying about Anora 26:59 Watching David Dobrick's vlog, some personal memories 29:24 The multiplicity of sexuality 32:37 Trouble arrives, the Funky Squad is formed 34:35 Female empowerment and institutional confidence 42:24 American movie Tetris, similarly interesting portrayal of Russians 43:29 Accumulation of material, human interest 47:29 Reasonable and unexpected final landing point 50:58 Extended discussion of the industrial system of Hollywood cinema, dreary and innovative at the same time 51:37 The complicity between Cannes and Hollywood 55:46 The dessert 56:05 The premiere of She Got No Name 57:25 Dress code for Cannes premiere

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 媒体见面会上还没跟贾樟柯导演聊够！所以我又找到机会，跟他面对面坐下来，更为详细地聊了聊新片《风流一代》的创作过程。以及大家可能较为好奇的，作为一对如此亲密无间的伴侣，贾樟柯和赵涛的工作模式到底是什么样的？在贾樟柯眼中，演员赵涛经历过怎样的成长？ 我跟贾樟柯还算有缘，在平遥国际电影展上曾数次与他擦肩而过，但这是我第一次能跟他进行深入对话的机会。2021年我曾去过贾樟柯的故乡——汾阳贾家庄，留下过一张照片。当时照片上的景致非常吸引我，我就在想，会不会有哪个导演在这里做做文章呢？我没想到，这个导演会是贾樟柯本人。 所以，本期节目的谈话就始于一张照片，一段记忆。 1:41 贾家庄种子影院之外的茶社，与《风流一代》的勾连 4:30《风流一代》的叙述风格，关于“伪记录电影”的讨论 6:09 剪辑的思路，以疫情为终点 10:25 片名的由来 11:14 几部作品中的“巧巧”，贾樟柯电影宇宙是怎么个事儿？ 14:26 “我并不强调地域性，我只是对模糊化比较反感” 15:32 “巧巧”的变化，从恋爱脑走向独立 18:16 与赵涛合作的工作方法，拍《世界》时带来的惊喜 21:16 选择《杀死那个石家庄人》，“我就是摇滚迷” 23:15 影片中的科技线索 25:24 22秒的“假好莱坞大片”，大费周折 26:58 导演贾樟柯评价演员贾樟柯 28:29 关于《不浪漫》，进展咋样了？ 30:09 通过作品与同行交流，发现世界电影关注面向与中国电影的不同 33:17 关于戛纳拿奖的想法 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! I didn't get to talk to director Jia Zhangke enough at the press conference! So I found another opportunity to sit down face-to-face with Jia to talk in more detail about the creative process of the new movie Caught By Tides. As you may be curious, as a pair of such intimate partners, what exactly is the working mode of Jia and Zhao Tao? In the eyes of Jia, what kind of growth has actress Zhao Tao experienced? I've had a good relationship with Jia, having rubbed shoulders with him several times at the Pingyao crouching tiger hidden dragon International Film Festival, but this is the first time I've been able to have an in-depth conversation with him.2021 I visited Jia's hometown of Fenyang Jiajiazhuang, leaving behind a photo. At that time, the scenery on the photo was very attractive to me, and I wondered if any director would do something here. I didn't expect that the director would be Jia Zhangke himself. So, the conversation in this program starts with a photo and a memory. 1:41 Tea house outside of Jajiazhuang's Seed Cinema, hooking up with Caught By Tides 4:30 Narrative style of Caught By Tides, discussion of “pseudo-documentary cinema”. 6:09 The idea of editing, ending with the epidemic. 10:25 The origin of the title 11:14 “Coincidence” in several works, what's the deal with Jia Zhangke's cinematic universe? 14:26 “I don't emphasize locality, I'm just averse to ambiguity” 15:32 Changes in “Qiaoqiao”, from love bird to independence 18:16 Working methods with Zhao Tao, the surprises that came with making World 21:16 Choosing backing track, “I'm just a rock fan” 23:15 Tech clues in the movie 25:24 The 22 seconds “fake Hollywood blockbuster” was a huge effort 26:58 Director Jia Zhangke on actor Jia Zhangke 28:29 What's happening with Pseudo Idealist? 30:09 Through the exchange of works with peers, Jia discovered the difference between the focus of world cinema and Chinese cinema. 33:17 Thoughts on winning awards at Cannes 送给听友的⬇️

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 在戛纳，终于见到了我一直很欣赏的演员彭于晏。自律、专注与魄力等等品质本身就为他的表演注入魅力，再加上这次他带来戛纳电影节的作品，《狗阵》中沉默寡言的“二郎”，同样是一个历经世事浮沉，胸中有千响而不轻易表露的角色，带有野性的气息。 生活中的彭于晏比我想象的还要阳光开朗得多，尽情抒发着他对于《狗阵》中“二郎”所走过这段旅程的思索，以及他本人一路走来的种种思绪。在我们聊天的过程中，《狗阵》中“黑狗”的扮演者小辛就在一旁酣睡。这是他在《狗阵》剧组收养的三条狗之一，拍完《狗阵》之后，狗狗就这样走进了他的生活，并将之改变。 节目录制当天是5月20日，录制结束后，他亲手送给我一束黄色的玫瑰花，在本届戛纳入围手册属于《狗阵》的页面中为我签下了“在路上”三个字。 希望大家通过这期节目，能够了解到更多“偶像”以外那一面的彭于晏。影片将于6月15日全国公映，到时候希望更多朋友能与《狗阵》找到彼此. 0:31 来自彭于晏的问候 2:12 photocall环节的大跳，呼应了第一次来戛纳的场景 4:27 跟蕾雅·赛杜合影的来龙去脉，蕾老师也吃了《狗阵》的安利 5:19 第一天来戛纳与格蕾塔·葛韦格的巧遇 7:29 《狗阵》中“二郎”的沉默吸引了彭于晏 9:55 说话与不说话，哪个难演？ 12:16 现场与狗狗演员的排练方式 17:25 黑狗与二郎样貌上的相像 21:48 二郎的转变和矛盾 23:33震撼到彭于晏的一场戏 27:45 管虎导演对于细节要求的严格 29:15 解读二郎全片最后一个笑容 33:09 逐渐隐藏在画面深处的彭于晏 34:38 标签和奖项，变得不再那么重要 36:51黑狗小辛名字的由来 37:48 养狗后生活的变化 39:35 和狗狗的渊源 43:56 彭于晏分享的养狗心得 46:18 彭于晏看“彭于晏” Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! At Cannes, I finally got to meet the actor I've always admired, Eddie Peng. His self-discipline, dedication, and drive are qualities that lend charisma to his performances, and this time, he brought to Cannes his work, the taciturn “Er Lang” in “Black Dog”, also a character who has experienced the world and has a thousand voices in his chest but does not show them easily, with an air of wildness. In life, Peng is much sunnier and more cheerful than I had imagined, expressing his thoughts on the journey Erlang has taken in “Black Dog”, as well as his own thoughts along the way. As we chatted, Sin, who played the role of “Black Dog”， was sound asleep. This is one of the three dogs he adopted on the set of “Black Dog”, and after filming “Black Dog”, the dog came into his life and changed it. The day of the taping was May 20th, and after the taping, he gave me a bouquet of yellow roses and signed “On the Road” for me on the page of this year's Cannes selection book that belongs to Black Dog in the Lineup. I hope that through this program, you can learn more about the side of Eddie Peng that is not “idol”.The film will be released nationwide on June 15th, and I hope more friends can find each other with "Black Dog" at that time 0:31 Greetings from Eddie Peng 2:12 The big jump in the photocall session, echoing the first time in Cannes 4:27 The ins and outs of taking a photo with Léa Seydoux, and Léa taking an recommendation from “Black Dog” 5:19 Coincidence with Greta Gerwig on first day in Cannes 7:29 The silence of Erlang in ““Black Dog”” attracts Eddie Peng. 9:55 Talking or not talking, which is harder to act? 12:16 How to rehearse with a dog actor on the spot 17:25 The resemblance between the black dog and Erlang 21:48 Erlang's transformation and conflict 23:33 A scene that shocked Eddie Peng 27:45 Director Guan Hu's strict attention to detail 29:15 Interpreting Erlang's last smile in the movie. 33:09 Gradually hidden in the depths of the screen, Eddie Peng 34:38 Labels and awards, they don't matter so much anymore. 36:51 The origin of the name of the black dog Sin 37:48 How life changed after getting a dog 39:35 The relationship with dogs 43:56 The experience of owning a dog shared by Eddie Pang 46:18 Eddie looks at “Eddie”. 送给听友的⬇️

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 来戛纳很重要的一个理由就是见世面，今天要讲的，入围主竞赛单元的恐怖片《某种物质》（现豆瓣已更名为《实体》）就让我们大开眼界。走出影厅大门，大家不约而同地看看对方，走近一些，温暖彼此僵硬的身躯。 看过导演科拉莉·法尔雅前作《复仇战姬》的朋友，应该都能想象到她的风格，但在看这部新作之前，一定想象不到她做到的程度。 向那些敢于“掀开房顶”的创作者致敬，尽管她给所有人带来了折磨。 本期嘉宾：《抛开书本》特约记者忠泽 0:46 别开胃菜了，没胃口 3:26 观影过程中，开始了羞耻的身体自检工作 5:30 保护好弱小可怜又无助的自己 6:31 “破茧化蝶”的设定，合理的逻辑 10:40 观影生涯仅见的尺度 11:40 和“身体恐怖”类型大拿柯南伯格电影的对比 13:53 嘹亮的影像宣言 16:25 女性电影崛起的讯号：“自食恶果” 19:04 戛纳选片团队为啥把它选进主竞赛？ 21:24 允许掀房顶的人存在 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! One of the most important reasons to come to Cannes is to see the unimaginable stuff, and today we are going to talk about it, and the horror film “The Substance” , which has been shortlisted for the competition section, is an eye-opener for us. Walking out the door of the theater, we all look at each other in unison and come closer to warm each other's stiff bodies. Anyone who has seen director Coralie Fargeat's previous film, Revenge, should be able to imagine her style, but before seeing this new film, one must not have imagined the extent to which she has gone. Hats off to the creator who dared to “lift the roof” despite the torture she inflicted on everyone. 0:46 No more appetizers. No appetite. 3:26 During the movie, the shameful body self-examination begins 5:30 Protect your weak, pathetic, helpless self. 6:31 “Butterfly in a cocoon” setting, reasonable logic 10:40 The only scale you've ever seen in your movie-going career. 11:40 Comparison with “body horror” genre master Cronenberg's movie 13:53 A Loud and Clear Video Manifesto 16:25 A sign of the rise of women's cinema: “Self-Eating” 19:04 Why did the Cannes selection team choose it for the main competition? 21:24 Anybody who lifted the roof is allowed to exist

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 作为今年戛纳主竞赛唯一一部国产电影，《风流一代》在卢米埃尔厅的首映堪称中国影人的大聚会。 很难用语言形容《风流一代》的故事，因为我们每个人都生活在这样的故事里面。“如此度过三十年，直到大厦崩塌”。 这期节目，试着聊聊贾樟柯这部跟以前作品截然不同的电影。他用20年的素材积累，在无意间触达了未来，触达了世界通用的电影语言。 本期节目还含有一个彩蛋，那就是科长本人的声音！在《风流一代》的华文媒体发布会上，我抓住机会向贾樟柯提出两个问题：从导演角度来看，赵涛是一个怎样的演员？为什么会选择在当下回望“我去两千年”的世纪之交？ 希望能够给大家带来不同方面的解读和信息的补充。 0:28 开胃菜 1:15 戛纳电影节发生的“检票事故” 7:01 没票碰运气的观众推荐来瓦尔达厅，有票观众建议提早来 9:11 在欧洲观影迟到怎么进场？ 12:25 主菜 14:12 《风流一代》，淡淡的剧情片 16:01 贾樟柯与娄烨新片体裁存在的相同之处 18:59 贾樟柯拍每部作品的习惯：“多拍一点”。正是这20年来多拍的东西积攒出来，构成了《风流一代》的主体内容 21:15 这部电影能把赵涛送上戛纳影后宝座吗？ 24:15 科技创新线勾连时代变迁 26:20 震撼我的第一个镜头 32:18 巧巧之于大同：即是幽灵又是精灵 34:44 中国式奇观，艺术导演的“画框” 38:29 疫情让大城变为小镇 42:10 彩蛋 42:58 贾樟柯：“未来的电影会分为疫情前的电影和疫情后的电影” 44:54 “怎么总是找赵涛演啊？” 46:46 “龙标窗口期”，国产艺术电影的喘息之机 51:44 甜点 52:07 大尺度电影日 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! As the only domestic film in the COMPETITON at Cannes this year, the premiere of Caught By Tides in the Lumière was a great gathering of Chinese filmmakers. It's hard to describe the story of Caught By Tides in words, because each of us lives inside such a story. “Spend thirty years like this until the building collapses”. In this episode, try to talk about this specific Jia Zhangke's movie, which is very different from his previous works. With 20 years of material accumulation, he inadvertently touched the future and the universal language of cinema. This episode also contains an surprise in the form of the voice of Jia himself! At the Chinese-language media launch of Caught By Tides, I seized the opportunity to ask Jia Zhangke two questions: What kind of actor is Zhao Tao from the director's point of view? Why did he choose to look back at the turn of the century when “I've been there for 2,000 years”? I hope to bring you different interpretations and information. 0:28 Appetizer 1:15 “Ticket mishaps” at the Cannes Film Festival 7:01 Theater Varda is recommended for those who don't have a ticket to take their chances, and for those who do have a ticket, we recommend coming early! 9:11 How to get in late for a movie in Europe? 12:25 Main course 14:12 Caught By Tides, a light drama. 16:01 The similarities between the genres of Jia Zhangke's and Lou Ye's new films 18:59 Jia Zhangke's habit of making each work: “shoot a little more”. It's what he has shot more of over the past 20 years that makes up the main body of Caught By Tides. 21:15 Can this movie put Zhao Tao on the Cannes throne? 24:15 The thread of technology and innovation connects the changing times 26:20 The first shot that blew me away 32:18 Qiaoqiao in Datong: a ghost and a spirit 34:44 Chinese spectacle, the art director's “frame”. 38:29 Epidemic turns big city into small town. 42:10 Bonus 42:58 Jia Zhangke: “The future of cinema will be divided into pre-epidemic and post-epidemic cinema.” 44:54 “Why do you always cast Zhao Tao?” 46:46 “Dragon Label Window Period”, a respite for domestic art films 51:44 Dessert 52:07 Big Scale Movie Day

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 一部看起来充盈而柔和，甚至是有几分天真的电影，只是因为不回避冲突，就遭到了404的结局，不禁让人唏嘘。 直到娄烨导演离开戛纳，他都未曾接受一家华语媒体的采访。据朋友回忆，临近首映的那几天，剧组主创在街上看到中国记者，都会投来警惕而审慎的目光。个中原因不难理解，毕竟导演手上还有一部制作规模较大的影片等待上映，但关于这部影片幕后详尽的故事，我们仍旧一无所知。 我相信，这部这部电影仍处于未完成状态，直到它能跟更多中国观众见面，在大家能够不必跟法国安保傻大个掰扯、不用赶公交车，也能静静地看完的时候。 0:47 开胃菜 1:07 干货分享：怎么要到心爱影人的签名合照 8:53 在戛纳最要紧的事，想到了一定要立马去做 12:09 放弃戈达尔遗作唯一一场放映赶场去看娄烨，谁能有我痛苦？（还没赶上） 14:39 中国影迷一起堵在路上 15:53 主菜 16:26 由《春风沉醉的夜晚》未公布镜头而衍生出的新故事 19:16 秦昊在《春晚》和《风雨云》里角色的连接 20:00 疫情爆发下的剧组生活 21:17 伪记录和伪剧情的两个极点 22:05 娄烨追求艺术尝试的方向改变 25:09 竖屏格式的创新运用 30:10 张颂文分享过娄烨在片场的状态 32:57 困在窗口中的视点 39:34 “告状电影”？ 45:42 记录讲述等于指控？ 49:53 还会有第七代导演吗？如果有，他们需要具备什么素养？ 56:00 甜点 57:02 《风流一代》首映后，第六代导演的同年作品大对比 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! A movie that seemed full and soft, even a little naive, was met with a 404 ending just because it didn't avoid the conflict, and one can't help but be saddened. Until director Lou Ye left Cannes, he had never accepted an interview with a single Chinese-language media outlet. According to a friend's recollection, in the days leading up to the premiere, when the cast and crew saw Chinese journalists on the street, they would cast a wary and cautious gaze. It's not hard to understand why. After all, the director has a bigger movie on his hands waiting to be released, but we still don't know anything about the detailed behind-the-scenes story of the movie. I'm sure the movie will remain unfinished until it reaches a wider audience in China, when we can all watch it in peace without having to wrestle with French security giants or catch a bus. 0:47 Appetizer 1:07 How to get an autographed photo of your favorite filmmakers 8:53 The most important thing to do in Cannes is to do it as soon as you think of it! 12:09 Abandon the only screening of Godard's last film to go see Lou Ye, who can share my pain? （I haven't caught up yet.) 14:39 Chinese moviegoers are stuck in traffic together. 15:53 Main course 16:26 A new story derived from unreleased footage of Spring Fever 19:16 Connection between Qin Hao's roles in Spring Fever and The Shadow Play 20:00 Life on the set under the epidemic outbreak 21:17 The two poles of pseudo-documentary and pseudo-drama 22:05 Lou Ye's change of direction in pursuit of artistic experimentation 25:09 The innovative use of vertical screen format 30:10 Zhang Songwen shared Lou Ye's condition on set 32:57 Point of view trapped in a window 39:34 “Sue movie”? 45:42 Record telling equals accusation? 49:53 Will there be a seventh generation of directors? If so, what qualities do they need to have? 56:00 Dessert 57:02 After the premiere of Caught by the Tides, a big comparison of the same year's work by the sixth generation of directors

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 第三天的更新，终于追上来啦！最近几天重磅内容很多，《疯狂的麦克斯：狂暴女神》、娄烨新片、还有科波拉新作《大都会》。有的内容我认为以播客日记的载体不足以盛放我们全部的情绪和启发，所以后续会以更深度的形式与大家见面～ 今天这一期的节目，主要聊聊对于几个媒体证件等级权益的观察，以及展开说说《狂暴女神》的相关讯息，以及新闻发布会上主创的交流。 1:49 开胃菜 2:25 粉证线上抢票与其他证件的待遇区别 3:26 粉证参加媒体发布会的高级权限 5:09 媒体证四大颜色级别划分 7:56 疑似白证的一位老哥刷新了我的认知 10:18 主菜 11:08 戛纳电影节对乔治·米勒的优待 13:24 《狂暴女神》与其他《疯狂的麦克斯》系列不同的类型风格 14:57 五大篇章，深度挖掘前作中查理兹·塞隆的角色魅力来源 15:52 安雅·泰勒-乔伊之于《狂暴女神》，有点像杨幂之于《没有一顿火锅解决不了的事》？？ 16:56 小女孩跟锤哥的双人对位戏份味如嚼蜡 20:07 评析视觉风格的三个方面 20:18 一眼新的武器装备 21:43 双方战斗场面平淡，不死乔一派的加入增加了变化 23:23 呈现死亡的方式多元，想到了“五行杀人”的创意 25:30 彩蛋 28:40 乔治·米勒关于摄制技术进步的观察 29:58 乔治·米勒对于动作商业片中电影语言的探讨 31:48 乔治·米勒分享《疯狂的麦克斯》一拍拍五部的心路历程 33:13 会不会还有续集？乔治·米勒在打“太极” 35:49 甜点 36:10 娄烨和《大都会》，都值得好好讲讲 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! Day 3 of updates, finally catching up! There's been a lot of heavy content in the last few days, with Furiosa: A Mad Max Saga, Lou Ye's new movie, and Coppola's new Megalopolis. I don't think the podcast diary is a good enough vehicle to hold all of our emotions and inspirations, so I'm going to follow it up with a more in-depth installment~! Today's installment focuses on observations about the rights of several media credentialing classes, as well as expanding on the message of “Furiosa: A Mad Max Saga”. 1:49 Appetizer 2:25 Pink card online ticket grabbing and other credentials treatment difference 3:26 Pink card to participate in the media conference of advanced privileges 5:09 Media pass four major color level division 7:56 An old man suspected to be a white pass refreshed my knowledge 10:18 The main course 11:08 Preferential treatment for George Miller at Cannes 13:24 The genre style that sets Furiosa apart from the rest of the Mad Max series 14:57 Five chapters that dig deeper into what made Charlize Theron's character so appealing in the previous film 15:52 Anya Taylor-Joy to Furiosa kind of like Yang Mi to Nothing Can't Be Undone by a HotPot 16:56 The little girl's duo scene with Chirs tastes like a chewy mess 20:07 Commenting on three aspects of the visual style 20:18 A look at the new weaponry 21:43 Battle scene between the two sides is bland, the addition of the Immortal Joe faction adds variety 23:23 Multiple ways of presenting deaths, thinking of the “Five Elements of Murder” idea. 25:30 Bonus 28:40 George Miller's observations on advances in filming technology 29:58 George Miller's discussion of the language of cinema in the action business film 31:48 George Miller shares his thoughts on making five Mad Max movies 33:13 Will there be a sequel? George Miller avoiding straight answer 35:49 Dessert. 36:10 Lou Ye and Megalopolis, both worth talking about

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 救命，第三天才发第二天的节目，俺真的已经尽力了，结果还是拖了更...但希望从内容上能在单纯影评以外聊些朋友们更感兴趣的。 比如：戛纳电影节的红毯谁能走？报道里很少提到的大道封禁，以及一条马路之隔的巨大拥堵。当然，也评评昨天看的两部主竞赛单元的女性电影，从而延伸出欧洲三大对于女性电影选择的一些隐性标准。 1:37 开胃菜 2:11 有卢米埃尔大厅票就能走的戛纳红毯 5:39 荷枪实弹，极其严格的道路封禁 7:47 为什么戛纳的观众都会化身无情的鼓掌机器人？ 10:25 主菜 10:24 《野性钻石》，抖音少女的魔怔成长 16:04 近几年欧洲电影节关注女性电影的角度 18:56 《拿针的女孩》，挑战伦理观念的剥削电影 25:06 甜点 25:30 《疯狂的麦克斯：狂暴女神》《一部未完成的电影》《大都会》，最想先听哪个？ Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! Help, I'm posting the second day's program on the third day, I've really tried my best, but I still ended up dragging it out more... But I hope to talk about something more interesting to my friends than just movie reviews. For example, who gets to walk the red carpet at Cannes? The seldom-mentioned boulevard closures, and the huge traffic jams across the street. And, of course, a review of the two women's films in the main competition that I saw yesterday, which extends some of the implicit criteria that the big three in Europe use to select women's films. 1:37 Appetizers 2:11 Cannes red carpet with Grand Lumière Theater ticket 5:39 Heavily armed, extremely strict road closures 7:47 Why are Cannes audiences transformed into relentless clapping robots? 10:25 The main course 10:24 Diamant Brut, the spellbinding growth of a Tiktok girl 16:04 Perspectives on women's cinema at European film festivals in recent years 18:56 The Girl with the Needle, an exploitation movie that challenges notions of ethics 25:06 Dessert 25:30 Furiosa: A Mad Max Saga, An Unfinished Film, Megalopolis, which one do you want to hear first?

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 在阵阵寒风中，我开始了第一天正式的看片日程。今天的播客内容，主要跟大家分享分享追星和开幕式内场节目的观看体验，以及本届开幕片、昆汀·杜皮约导演新作《第二幕》的简评。 附涛姐美照一张 0:54 开胃菜 1:15 主要场馆的体验，咖啡领取的福利 5:03 《艺术人生》式的戛纳开幕仪式 6:00 开幕典礼的两个主角：评审团主席和荣誉金棕榈得主 7:30 跟格蕾塔·葛韦格的深情互动 8:51 比诺什给梅姨颁奖，念稿给自己念哭了 10:30 卢米埃尔大厅的后门，追星之门 12:35 主菜 14:06 远了不好说，《第二幕》应该是三年来最好看的开幕片 18:07 在幽默中塞议题 21:02 各种玩梗、冒犯和“人身攻击” 22:05 亮点和不尽兴 26:14 甜点 26:17 空降主竞赛的女导演长片首作《野性钻石》，关注度较高 Shownotes in English: In the midst of a gusting cold wind, I began the first official day of my movie watching schedule. Today's podcast features a sharing of the viewing experience of the stargazers and the opening infield program, as well as a brief review of this year's opening film, the new Quentin Dupieux-directed film, Second Act. 0:54 Appetizers 1:15 A taste of the main venues, coffee pick-up benefits 5:03 Opening ceremony in Cannes in the style of “ARTIST”（A celebrity interview program broadcast in mainland China） 6:00 The two protagonists of the Opening Ceremony: the President of the Jury and the Honorary Palme d'Or Winner 7:30 An affectionate interaction with Greta Gerwig. 8:51 Binoche presents the award to Meryl and cries as she did the speech. 10:30 The back door of GRAND THÉÂTRE LUMIÈRE, the door to the stars. 12:35 The main course 14:06 Too far to tell, Second Act should be the best opening movie in three years 18:07 Stuffing issues with humor 21:02 All sorts of jokes, offenses and “personal attacks” 22:05 Highlights and lowlights 26:14 Dessert. 26:17 Wild Diamond, the feature debut of a female director who dropped into the main competition, is getting a lot of attention

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 终于终于来到戛纳。走出机场大门的瞬间，阳光明媚，戛纳电影节负责嘉宾接驳车的柜台也就在视线范围之内。迄今为止，一切都称得上是我最为顺滑的线下参展体验。 无巧不成书，前两天刚刚听完我上一期“五年戛纳，三年模拟”节目的一位听友，在命运的安排下跟我住进了同一间民宿，谁在了同一张床上。 这是一番怎样的邂逅？今年戛纳电影节开始抢票以来，各方体验如何？本期的甜点，我们还给大家分享了比我上一期播客里提到的更为详细的“媒体证件申请指南”，希望能帮到更多来到这里却抢不到票，非常难受的朋友。 戛纳的报道历程正式开始啦！大家想看到哪方面内容，欢迎和我们留言互动起来哦。 本期播客特别介绍：《抛开书本》记者/《走出森林》播客主播/剪辑师/导演忠泽 2:22 前菜 2:30 与忠泽同病相怜的“待机”经历 4:00 从线上抢票开始，聊聊戛纳电影节的初体验 13:43 延伸话题：一天最多看过几部电影？ 16:38 观影场域的概念 18:48 戛纳电影节与柏林、威尼斯抢票系统的对比分析 24:06 戛纳电影节影迷证与媒体证抢票的机制不同 25:16 转票在戛纳电影节是可行的吗？ 30:35 主菜 30:55 对于科波拉新作《大都会》的期待 33:16 对于娄烨新作《一部未完成的电影》以及陈可辛《酱园弄》的期待 35:31 对于在戛纳能看到的版本的讨论 37:05 老油条的无期待 39:53 甜点 40:33 三日证的内卷，影迷证的高门槛，都不能保证很好的抢票体验 42:54 戛纳对于新兴媒体账号申请证件看中的元素有哪些？ 43:31 对于播客等多元媒介的拥抱 52:03 换个角度想想，根据自身优势，去到最适合自己的电影节 Shownotes in English: Welcome to NonsenseFuel's 77th Cannes Film Festival related program, thanks to Douban.com! Finally arrived in Cannes. The moment I walked out of the airport gate, the sun was shining brightly and the Cannes Film Festival's counter in charge of guest shuttle buses was within sight. So far, everything qualifies as my smoothest offline exhibiting experience. Coincidentally, two days ago, after listening to my last program “Five Years in Cannes, Three Years in Simulation”, a friend of mine stayed in the same B&B as me by fate, in the same bed. What kind of encounter was it? How have you experienced the Cannes Film Festival this year since the start of the ticket rush? In this installment of Dessert, we also share with you a more detailed guide to applying for press credentials than the one I mentioned in my last podcast, in the hope that it will help more people who came to Cannes but couldn't get a ticket and are having a hard time doing so. The journey to Cannes has officially begun! Feel free to leave a comment on what you'd like to see. 2:22 Appetizers 2:30 The “standby” experience with Zhongze 4:00 Starting from the online ticket grabbing, let's talk about the first experience of Cannes Film Festival. 13:43 Extended Topic: How many movies do you see in a day? 16:38 The concept of the cinematic field 18:48 Comparative analysis of Cannes and Berlin/Venice ticketing system 24:06 Differences between fan passes and press passes at Cannes 25:16 Is ticket transfer feasible at Cannes? 30:35 Main course 30:55 Expectations for Coppola's new film Metropolis 33:16 Expectations for Lou Ye's new film “An Unfinished Film” and Chen Kexin's “Soya Sauce”. 35:31 Discussion of the version to be seen at Cannes 37:05 No expectations from the old farts 39:53 Dessert 40:33 The inward roll of three-day passes and the high threshold of fan passes don't guarantee a great ticket-grabbing experience 42:54 What elements does Cannes look for in emerging media accounts applying for credentials? 43:31 The embrace of multiple mediums such as podcasts 52:03 Think differently and go to the festival that suits you best, based on your strengths