6月底的最后几天，突然在影迷群看到大家转发的聊天记录：原来85岁的科波拉导演来到了位于北京小西天的电影资料馆，参与一场“由他执导的电影”的放映活动。 不消多说，当天放映的大概率是他毁誉参半（毁远大于誉）的新片《大都会》。这部大制作电影目前在全球范围内的销售和发行尚处在一个不太乐观的形势，希望他本人来到中国的举动，能推动相关进程。 借此机会，也终于能抽出时间跟大家好好聊聊本届戛纳我心目中最大的遗珠，《大都会》。 1:44 科波拉为何而来？ 3:54 科波拉中国行可能实现的两个目的 8:46 《大都会》可能公映吗？ 9:40 在美国本土被评为R级的理由依据 12:41从时间-地点-人物的基本要素分析《大都会》的内容框架 16:00 与原著《喀提林阴谋》的关系 18:59 片中男主人公的身份是由凯撒+喀提林两个历史人物融合而成 20:20 关于“时间静止”的超能力在片中的作用 23:39 重要概念——“冲突” 25:27 属于科波拉的《一步之遥》 28:51 一种全新的电影语言：传统庸俗的戏剧底座+现代创新的视听 30:15 新语言对《大都会》产生的作用 32:33 三个细节层面分析科波拉是如何创造新语言的 33:43 色调——“被雾雨笼罩的金碧辉煌” 34:59 制景——简洁的木质城市模型 37:35 媒介——简单粗暴的打破第四面墙紧接着运用精湛的分屏技巧 41:15 “导演的导演”

欢迎到豆瓣收听《废话燃料》第26届上海国际电影节相关节目，感谢豆瓣的支持！ 《刺猬》自从官宣以来，经历了将近三年时间才首映。相比今年金爵奖主竞赛其他华语片的进度，算是制作节奏很慢的一部电影了。为什么会拉到这么久，在本期节目里我们进行了一番八卦性质的猜测，纯属个人猜测哈。 《刺猬》改编自作家郑执的短篇小说《仙症》，讲述了一段发生在东北的家庭史诗，带有强烈的魔幻色彩。在转译为影像的过程中，顾长卫发挥了自己在画面设计上的长处，把原著中王战团的视点呈现在影像里。本期我们就来聊聊，电影和原著小说的之间的关系，究竟拍出了几分神韵？然而受到种种条件限制，《刺猬》又有哪些无法弥补的遗憾？葛优王俊凯这爷俩的搭档，激发出了怎样的化学反应？ 2:27 凉菜 2:46 第一次参与和电影节官方日程不重合的媒体场，新鲜 5:12 热菜 5:29 对于顾长卫拍片节奏的认知 6:29 英皇影业与葛优大爷的合约回顾 8:37 故事删减的痕迹 9:45 与原著小说较为贴近 10:31 主菜 11:15 王战团被模糊化的身世 13:22 内容实质：两代男性所经历过的来自历史和家庭的风暴 14:33 王战团和周正跨越代际的交往 15:20 顾长卫作品中的人文关怀 17:25 核心台词——“卡住”的含义 21:40 东北群像的塑造 25:47 东北传统的萨满等信仰文化土壤丰厚 27:27 导演视听的创想：把家拍成船 30:46 关键节点之后，影像开始逐渐丧失魅力 33:47 葛优与小说中“王战团”形象的出入 34:27 葛优与范伟，两位表演大拿的戏路类比 35:43 葛优所追求的突破 38:56 清澈的呆傻 42:13 努力的小凯 46:11 后半截王俊凯表演的层次单一？争论 51:08 果盘 51:16 组合内三位少年如今在电影上各自走到哪步？大家想听吗 53:19 因为一个未来的选题，两位主播险些分道扬镳 shownotes in English: Welcome to Douban to listen to NonsenseFuel 26th Shanghai International Film Festival related programs, thanks to Douban! The Hedgehog has taken almost three years to premiere since its official announcement. Compared to the progress of other Chinese-language films in the main competition of this year's Golden Goblet Awards, it's considered to be a movie with a very slow production pace. Why it will pull so long, in this program we have a gossip nature of speculation, purely personal speculation haha. The Hedgehog is based on the short story "Immortal Disease" by author Zheng Zhi, about a family epic that takes place in the Northeast with strong magical overtones. In the process of translating it to video, Gu played to his strengths in graphic design, presenting the point-of-view of the original book's Wang Zhantuan in the image. In this issue, we'll talk about the relationship between the movie and the original novel, and how much magic has been captured? However, due to various constraints, what are the irreparable regrets of The Hedgehog? What kind of chemistry was created by the pairing of Ge You and Wang Jun Kai? 2:27 Gazpacho 2:46 First time participating in a press field that doesn't overlap with the festival's official schedule, fresh! 5:12 Hot dishes 5:29 Perception of Gu Changwei's filming rhythm 6:29 Review of Emperor Motion Pictures' contract with Mr. Ge You 8:37 Traces of story deletion 9:45 Closer to the Original Novel 10:31 The main course 11:15 The blurred life of Wang Zhantuan 13:22 Substance: Storms from history and family experienced by two generations of men 14:33 The intergenerational relationship between Wang Zhantuan and Zhou Zheng 15:20 Humanistic Concerns in Gu Changwei's Works 17:25 The Meaning of "Stuck" as a Core Line 21:40 Portrayal of the Northeast 25:47 The rich cultural soil of traditional shamanic beliefs in the Northeast 27:27 Director's audio-visual creation: making a boat out of a home 30:46 After the key point, the image begins to lose its charm 33:47 The Difference Between Ge You and the Novel's "Wang Zhantuan" Image 34:27 Ge You and Fan Wei, analogies between the two great performers 35:43 The breakthrough that Ge You was looking for 38:56 Clearly dumb 42:13 The hardworking Kai 46:11 The single level of Wang Junkai's performance in the second half of the movie? Argumentative 51:08 Fruit plate 51:16 How far have each of the three teenagers in the group gone in their movies now? Do you want to hear about it? 53:19 The two anchors nearly parted ways over a future pick

欢迎到豆瓣收听《废话燃料》第26届上海国际电影节相关节目，感谢豆瓣的支持！ 导演管虎曾在采访中表示，拍摄完《八佰》和《金刚川》两部商业大片之后，他把更多时间留给了自己，在极度的压抑和疲惫中触底反弹，爆发出强烈的表达欲和产能。 疫情期间，他着重完成了两部作品——《狗阵》与《一个男人和一个女人》。其中，《狗阵》带他来到了戛纳一种关注大奖的领奖台上。那么这部入围金爵奖的《一个男人和一个女人》又呈现了一番怎样的景象？在疫情的风控下，两颗孤单的心向彼此靠近，该如何界定这种关系？黄渤倪妮两位国民演员，又是如何表现这次的角色的？ 0:30 凉菜 1:10 HiShorts!联手上海美术电影厂举办的动画艺术展，为期两个月，值得逛逛 3:09 ShangHiShorts!展馆现场的布置，去年获奖的几部人气短片可以看到啦 4:56 最近几天在上影节观影体验的总结 8:56 延伸话题：你们在看电影的时候遇到最奇葩的事是什么？ 11:05 热菜 11:19 《狗阵》与《一个男人和一个女人》（简称《男女》）的联系与比较 14:39 两人关系的缘起 18:50 主食 19:27 香港封控下的景观 21:59 室内戏份，声音的侵入和空间的融合 24:31 管虎对特殊时期的态度：不回避，抽离情绪，从激动到静置 26:52 倪妮和黄渤的表演高光 30:24 解读片名的含义 31:51 一些不够圆融的部分 34:49 果盘 34:52 对于亚洲新人奖入围影片的关注 shownotes in English: Welcome to Douban to listen to NonsenseFuel 26th Shanghai International Film Festival related programs, thanks to Douban! Director Guan Hu once said in an interview that after filming two commercial blockbusters, The Eight Hundred and The Sacrifice，he left more time for himself, bottoming out in extreme repression and exhaustion, and exploding with a strong desire and capacity for expression. During the epidemic, he focused on completing two works - Black Dog and A Man and a Woman. Among them, Black Dog brought him to the podium of the Grand Prix d'Attention at Cannes. So what does this Golden Goblet shortlisted film "A Man and a Woman" present? Under the wind control of the epidemic, two lonely hearts approach each other, how to define this relationship? How do the two national actors, Huang Bo and Ni Ni, perform their roles this time around? 0:30 Gazpacho 1:10 HiShorts! has a two-month long animation art exhibition organized by Shanghai Fine Arts Film Studio. 3:09 ShangHiShorts! Pavilion setup, some of last year's award-winning short films can be seen! 4:56 A summary of the last few days at SIFF. 8:56 Extended topic: What's the strangest thing you've encountered while watching a movie? 11:05 Hot dishes 11:19 Connections and comparisons between Black Dog and A Man and a Woman 14:39 The origins of the relationship between the two 18:50 Staple food 19:27 Hong Kong's landscape under sealing control 21:59 Indoor scenes, the intrusion of sound and the integration of space 24:31 Guan Hu's approach to the special period: no avoidance, abstraction of emotions, from agitation to stasis 26:52 Highlights of Ni Ni and Huang Bo's performances 30:24 Deciphering the meaning of the title of the movie 31:51 Some parts that are not well rounded 34:49 The fruit plate 34:52 Concerns about Asian New Talent Award finalist films

欢迎到豆瓣收听《废话燃料》第26届上海国际电影节相关节目，感谢豆瓣的支持！ 本届上影节金爵奖的主竞赛入围影片从今天开始官方展映，首映口碑开始释出，在前几天录制的前线系列影评也逐渐可以发布出来啦！ 第一期就跟大家聊聊由魏书钧执导，黄晓明、祖峰、陆小芬主演的《阳光俱乐部》。这部新作延续了哪些魏书钧之前的风格？这次他观察到的是一组怎样的家庭关系？从戛纳到上海，魏书钧经历了什么？以及，贾樟柯在片中妙趣横生的表演发挥。 1:42 国内电影节的节目形式调整为：凉菜、热菜、主食、果盘，更符合国人胃口 3:32 凉菜 4:02 上影节的媒体证申请经验分享，需要材料：作品+公章介绍信 7:04 热菜 8:12 黄晓明发福，为“心青年”角色服务 8:55 黄晓明-祖峰-陆小芬组成的奇妙家庭 11:30 支线人物的支线剧情，枝桠蔓生 12:48 主食 13:19 临时赶的假期作业即视感 14:59 对小机灵、不走寻常路的追逐 17:24 新一代导演的共同特性：反对并解构严肃叙事 19:07 混杂的口音 22:01 虚浮的背面，是距离感和陌生的新鲜 23:44 出彩的配角设置：贾樟柯扮演的蔡亮博士 23:58 贾樟柯近年在中青代导演作品中的表演脉络，逐渐成熟 27:49 果盘 27:57 曾经入围三大的90后大陆导演，他们过得怎么样？ 本期节目给大家带来了影迷福利！在豆瓣播客上收听本集，转发节目并关注我 ，将会抽取8名幸运观众，每人赠送一份由豆瓣豆品与索尼影视电视联手推出的哥伦比亚100周年纪念电影扑克与纪念周边～品类如下，款式随机，22号开奖哦～ shownotes in English: Welcome to Douban to listen to NonsenseFuel 26th Shanghai International Film Festival related programs, thanks to Douban! 1:42 The program format of the Domestic Film Festival has been adjusted to: cold dishes, hot dishes, main dishes and fruit plates, which is more in line with the national appetite 3:32 Cold dishes 4:02 Experience sharing of media pass application at SIFF, required materials: works + official seal introduction letter 7:04 Hot dishes 8:12 Huang Xiaoming getting fat for his role as "mentally handicapped person". 8:55 Huang Xiaoming-Zu Feng-Lu Xiaofen's marvelous family 11:30 Branching plots for branching characters, branching out 12:48 main dishes 13:19 The sense of temporary rushed vacation homework 14:59 The Chase of the Witty and the Unusual 17:24 A common trait of the new generation of directors: opposing and deconstructing serious narratives 19:07 Mixed accents 22:01 Behind the vainglory is a sense of distance and unfamiliar freshness 23:44 A brilliant supporting role: Jia Zhangke as Dr. Cai Liang 23:58 Jia Zhangke's performance in the works of young and middle-aged directors has matured in recent years. 27:49 Fruit Plate 27:57 How are the post-90s mainland directors who were once shortlisted for the Big Three?

欢迎到豆瓣收听《废话燃料》第26届上海国际电影节相关节目，感谢豆瓣的支持！ 1:14 三年前来到上海的回忆 3:08 今年来到上海的感受 6:38 徐汇到黄埔，大搬家 8:37 开始聊聊上影节的媒体待遇 12:39 对上海影城-银星皇冠酒店的场馆体验 18:15 上影节盒饭好吃吗？ 21:53 魔幻之旅——和“心青年”的交集 27:17 《红辣椒》和《神探威威猫》的撞梗 29:23 高架桥上被撞倒的外卖小哥 30:56 看《德州电锯杀人狂》被安排了四排四座，相当吉利呢 shownotes in English: Welcome to Douban to listen to NonsenseFuel 26th Shanghai International Film Festival related programs, thanks to Douban! 1:14 Memories of coming to Shanghai three years ago 3:08 Feelings of coming to Shanghai this year 6:38 Xuhui to Huangpu, big move! 8:37 Let's talk about the media treatment at SIFF. 12:39 Venue experience at SFC Shanghai Cinema - Silver Star Crown Hotel 18:15 Is the SIFF box lunch good? 21:53 The Magic Journey - A Meeting with Persons with intellectual disabilities 27:17 Paprika and Dective WINWIN cat 29:23 Delivery boy knocked down on viaduct 30:56 It's quite auspicious to have four rows of four seats(In Chinese pronunciation, four harmonizes with death.) for The Texas Chain Saw Massacre

《美国内战》终于在大陆公映了。尽管早前在受邀评测剧本的时候，我们一致觉得这部片子无论从品质还是舆论层面都有不小的问题，但从成片角度看下来，有些桥段呈现得比剧本上要精彩很多。 这是好莱坞电影厂牌A24成立以来投资最大的电影，对外宣称具有5000万美元的制作成本。按照常规意义上的盈亏点分析，《美国内战》需要卖到1.5亿美元才能收回成本。A24对本片的信心强烈到，绕开有极大概率会纳入官方单元的戛纳电影节，直接跨入市场。 本期节目就跟大家聊聊《美国内战》在所谓的战争类型下包裹的主题——本质上这是一部探讨摄影机超然权力的电影，以及导演艾历克斯·加兰的自我表达，哪些玩砸了，哪些大加分。 2:59 还差多少回本？ 4:10 片商关系+主演阵容，《美国内战》如果送戛纳很有戏 6:52 宣传热点与影片内容的错位 8:18 在战争背景下强调摄影/拍摄的作用 15:14 相机的地位不亚于枪炮 18:30 A24对大制作电影缺乏制片经验，导致战争场面的特效做得天马行空 20:13 人物主线：新旧美国梦交替 21:49 主人公李在关键时刻的软脚虾行为令人费解 22:51 “金曲大串烧”覆盖了战场真实的声音 25:22 对于《美国内战》原剧本的初体会 26:04 由“李”这个名字展开的联想（此处为纯联想，经查证后发现原来女主人公的名字灵感来源于著名摄影师李·米勒） 28:16 原剧本搬上银幕所作改动的原则：提升叙事节奏 30:02 几场戏在发生时间和人物出场上的改动 34:14 改动的关键戏份，能够成功过审的重要原因 35:32 杰西·普莱蒙的表演，神来之笔 42:49 其他细节上的删改和遗憾 46:55 对上影节报道的预告 给听友们整点周边！在豆瓣播客 收听本期节目👉 《美国内战》删减与过审分析 ，点赞并转发播客节目，抽1个送《美国内战》正版全套海报2张（一样一张）+全套纪念票根（一样一张）+摇扇1个～

从戛纳乘坐大巴踏上归程的那天，搭档告诉我，前一天我在《酱园弄》发布会上提出的那个问题，在热搜上已经吵成粥了。我点开看看，#章子怡质问陈可辛#的词条赫然就摆在最醒目的位置。章子怡在发布会上的一个语气，一次回眸，也被大家拿出来逐帧放大解读。 我想出的内容/由我的问题得到的答案又一次完全超出我的掌控和想象。所以这期节目，还是有必要聊聊我在发布会上的感受，辅以一些关于《酱园弄》现有的场外信息，让听友们有一个更直观的感受。我还整理了一些发布会上主创的原声，希望能够尽可能还原当时的交流氛围。 为什么说“又”？ 这又涉及到我与一位艺人的一桩往事。经过两次的事件叠加，我对互联网上评断信息的标准有了一些小小的思考。 1:42 从“始作俑者”的视角，看“酱园弄剧组不合”相关热搜 3:14 从极速定剪拿标开始，反推《酱园弄》此次入戛纳的重要性 5:05 陈可辛的取舍之道 9:56 《酱园弄》媒体发布会复盘 17:30 2019年采访张颂文的往事 21:40 2023年《狂飙》大火，我们之前的采访视频也被翻了出来 23:36 反思与觉悟 28:32 发布会上我给章子怡提出的原装问题：有哪场暴力戏份在拍摄时让你印象深刻？ 30:50 “剪了？没剪！” 34:20 章子怡为体验角色进入屠宰场的经历 35:29 不太习惯提前设计现场表演 36:48 杨幂全场的唯一发言 38:32 导演：没权代表女人 39:36 《金枝玉叶》的LGBT元素？ Shownotes in English: On the day I took the bus home from Cannes, my partner told me that the question I'd asked at the launch of She Got No Name the day before had been a hot topic of debate. I clicked on it, and the phrase #Zhang Ziyi questioned Peter Ho-Sun Chan# was right at the top of the list. Zhang Ziyi's one tone of voice and one glance back at the launch event were also taken out and interpreted frame by frame in a zoomed-in manner. Once again, what I came up with/was answered by my questions was completely out of my control and imagination. So for this episode, it's still necessary to talk about how I felt at the conference, supplemented by some existing off-site information about She Got No Name, so that listeners can get a more visceral feel for it. I've also compiled some of the original voices of the creators at the conference, in the hope of restoring as much of the atmosphere of the exchange as possible. Why “again”? Well, it involves a past incident with an artist. After the two incidents, I have some thoughts about the standard of judging information on the internet. 1:42 From the perspective of the “originator”, look at the hot searches related to the “She Got No Name crew disagreement”. 3:14 The importance of the Cannes entry for She Got No Name from the point of view of the fast final cut and the bid. 5:05 Peter Ho-Sun Chan's way of choosing between the two. 9:56 Review of the press conference for She Got No Name 17:30 Past interview with Zhang Songwen in 2019 21:40 2023 Punch Out is a hit and our previous interview video has been rehashed 23:36 Reflection and realization 28:32 Original question I posed to Zhang Ziyi at the release party: what violent scene stood out to you while filming? 30:50 “Cut? It wasn't cut!” 34:20 Zhang Ziyi's experience of entering a slaughterhouse for her role 35:29 Not really used to designing live performances in advance 36:48 Yang Mi's only speech in the whole scene 38:32 Director: doesn't have the right to represent women 39:36 LGBT elements of He's a Woman, She's a Man?

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！ 随着短平快，却富有编排创意的闭幕晚会结束，第77届戛纳电影节的各大奖项都有了归属。美国电影《阿诺拉》摘得金棕榈，场刊最高分的《神圣无花果之种》只拿到一个从字典里翻出来的生僻奖项——“评审团特别奖”。 这届戛纳可以说是被美国电影全面攻占入住的一年，无论是评审团主席格蕾塔·葛韦格所代表横扫好莱坞的流行文化，还是八项大奖中美国电影占据其三的超高比例都深切地说明了这一点。 每个电影节前线的保留曲目，我们对颁奖名单进行了一番审判。谁有点赛脸，谁比较值得？通过颁奖名单，我们可以看出当下戛纳对于艺术电影的态度是什么？ 本期节目还有一小段珍贵的花絮内容，就是电影记者忠泽采访《阿诺拉》摄影指导的经历分享。这或许是目前中国记者对金棕榈得主剧组的首篇报道，希望能够通过忠泽的讲述，能让大家收获更多关于美国独立电影现状的认识。 第77届戛纳前线播客日记到这里告一段落了，但相关更新还将继续。大家有什么感兴趣的话题，欢迎在留言告诉我们哦～ 1:09 开胃菜 2:18 准备5年的正装，终于在戛纳红毯充分利用上了 4:05 国内外电影节颁奖晚会播出方式的区别 6:00 开场小片改编自《星战》片头，致敬荣誉金棕榈得主乔治·卢卡斯 7:06 科波拉给卢卡斯颁奖，大哥跟小弟的拉手 10:35 一届戛纳到底颁几个荣誉金棕榈？ 12:51 主菜 13:08 短片金棕榈《无法保持沉默的人》，“特别提及”的意义 16:10 金摄影机奖《阿曼达》 17:10 短片奖+金摄影机+基石单元合成的新企划：明日电影（CINÉMA DE DEMAIN） 18:17 集中开火：今年评奖三大槽点 26:21 最佳剧本奖《某种物质》，给得又小又怪 26:42 最佳女演员+评审团奖《艾米莉亚·佩雷斯》，真的有必要吗 30:01 最佳男演员《善良的种类》，兰斯莫斯的面子比天大 32:22 评审团特别奖《神圣无花果之种》，为了不给金棕榈开始翻字典查生僻奖项了 38:34 最佳导演奖《壮游》，学习了戛纳对导演奖项的定义 40:44 评审团大奖《想象之光》，印度电影重返戛纳的意义，以及跟印度记者交流的分享 43:13 女性导演的创造力，对比老白男电影令人愤怒的僵化自恋 46:23 大家应该重新认识世界舞台上的印度电影了 50:55 从科波拉卢卡斯同框，联想到“新好莱坞”时代大师入住好莱坞荡气回肠的过往 51:56 金棕榈《阿诺拉》，众望所归 56:03 采访《阿诺拉》摄影指导Drew Daniels 的体验分享 57:17 最高奖的评奖标准 1:00:10 肖恩·贝克拍性工作者，好像欧阳锋练蛤蟆功 1:03:31 Drew Daniels 看完《神圣无花果之种》的担忧，美国独立电影的出路 1:05:31 《阿诺拉》剧组为拍片，在布鲁克林俄裔区的生活 1:08:59 甜点 1:09:30 来到戛纳，再回首恍然如梦，再回首我心依旧 1:15:58 下一站？ Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! With the conclusion of the short but creatively choreographed Closing Gala, the major awards of the 77th Cannes Film Festival have been decided. The American film “Anora” won the Palme d'Or, and the highest-scoring film in the program, “The Seed of the Sacred Fig” received only the “Special Jury Prize,” an out-of-the-way award that was rewritten from the dictionary. This year's Cannes was arguably the one in which American cinema took over, both in terms of the sweeping Hollywood pop culture represented by jury president Greta Gerwig, and in terms of the high percentage of American films that took up three of the eight prizes. A holdover from every festival front, we put the awards list through its paces. Who had a bit of a a misnomer and who was more deserving? What can we tell about Cannes' attitude to art cinema at the moment by looking at the awards list? There's also a small piece of precious bonus content in this episode, which is the sharing of film journalist Zhongze's experience of interviewing the Cinematographer of “Anora”. This is perhaps the first report on the Palme d'Or winner's crew by a Chinese journalist, and we hope to gain a better understanding of the current state of American independent cinema through Zhongze's narration. This is the end of the 77th Cannes Frontiers podcast diary, but updates will continue. If there are any topics you're interested in, feel free to let us know in the comments! 1:09 Appetizer 2:18 5 years of preparation for the formal dress, finally in Cannes red carpet to make full use of it 4:05 Differences in the way the awards gala is aired at national and international film festivals 6:00 Opening film adapted from the opening credits of Star Wars, a tribute to honorary Palme d'Or winner George Lucas 7:06 Coppola presents Lucas with his award, big brother pulling hands with little brother 10:35 How many Honorary Palmes d'Or are awarded at Cannes? 12:51 Main course 13:08 Palme d'Or for the short film The Man Who Could Not Remain Silent, the significance of the “special mention”. 16:10 Camera d'Or for Amanda 17:10 New program of the Short Film Award + Camera d'Or: CINÉMA DE DEMAIN (Cinema of Tomorrow) 18:17 Focused fire: the three biggest slogans of this year's awards 26:21 Best Screenplay for The Substance, small and weird. 26:42 Best Actress + Jury Prize for Emilia Perez, was it really necessary? 30:01 Best Actor for Kinds of Kindness, Lanthimos' face is bigger than the sky 32:22 Special Jury Prize for The Seed, so we're not giving the Palme d'Or, but going to the dictionary to look up obscure awards. 38:34 Best Director for Grand tour, learning the Cannes definition of directing. 40:44 Grand Jury Prize for All We Imagine as Light, the significance of the return of Indian cinema to Cannes, and an exchange with an Indian journalist 43:13 The creativity of women filmmakers, and the infuriatingly rigid narcissism of old white male films. 46:23 It's time for everyone to reacquaint themselves with Indian cinema on the world stage 50:55 Coppola and Lucas in the same frame, a reminder of the “New Hollywood” era of masters in Hollywood's stirring past 51:56 The Palme d'Or, Anora, is a worthy winner. 56:03 Interview with Drew Daniels, Director of Photography for Anora, sharing his experience. 57:17 The criteria for the top prizes 1:00:10 Sean Baker photographs sex workers like Ouyang Feng practicing toadstools 1:03:31 Drew Daniels' concerns after seeing the Seed , the way forward for American independent film 1:05:31 The crew of “Anora” living in Brooklyn's Russian neighborhood for the movie

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⬇️