89歲的褒曼，也終要給死神「將軍」。死神心想：你也有今天。不過褒曼留下的《野草莓》、《第七封印》、《假面》，卻成為人間不逝的甘甜，與死神共存。 褒曼面對人生深邃的大題旨，均能以極具想像力的手法表達，如這一幕死神對奕就已留在無數影迷心中，象徵了電影影象與哲思的最高融合。另外還有《假面》極具實驗性的拍法、《哭泣與低語》的顏色運用等，都給沈甸甸的內容賦予風格強烈的藝術意涵。
如此級數的導演，世上好像已沒有另一位。而對於本人，塔可夫斯基走了，黑澤明走了，他走了，最喜愛的導演只剩下候孝賢。最近看了日本電影《草裙娃娃呼啦啦》 ，才知道現在《電影旬報》第一位的作品是這樣拙劣。都不是要與經典相比，但即使與同時代的日本勵志片並觀之，水準仍然令人失笑，好像把公式橋段堆砌起。當然，娛樂性總有點，但也是幾近一切可預期。救命，總之就是愧對祖先你們這班不肖子孫。那個北野武也是創意枯竭，早已給韓國人超前幾個馬位。
我想評審人和我一樣，也在低頭慨嘆，世界電影藝術的生命好像在50、60年代已走過最光輝的青春年代，但戲迷又可以怎樣？都給眾大師弄上癮了，只好繼續看，繼續懷緬。
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仲有安東尼奧尼呀，今年歐洲係咪熱得滯，搞到d 老人家……
Blow-Up director Antonioni dies
Antonioni's films included Blow-Up and L'avventura
Italian film director Michelangelo Antonioni, renowned for his 1966 release Blow-Up, has died aged 94.
He gained two Oscar nominations for the iconic release, and was awarded an honorary Academy Award for his life's work in 1995.
His Italian language films, including La Notte, also won recognition during his career, which began in the 1940s.
The director died peacefully at home on Tuesday night, according to his wife, actress Enrica Fico.
Antonioni was born in 1912 in Ferrara, a small town in the north-east of Italy.
He studied economics at the University of Bologna, but came to attention as a film critic when he savagely criticised the Italian comedies of the 1930s.
In the 1940s, he enrolled at Centro Sperimentale, Italy's national film school, and soon began working as a scriptwriter, collaborating with directors such as Roberto Rossellini and Enrico Fulchignoni.
International success
His debut feature film, Story of A Love Affair, was released in 1950, but he did not achieve international success until L'avventura (The Adventure) in 1960.
The film, which won the special jury prize at the Cannes Film Festival, tells the story of a group of couples who take a boat trip to an island off the coast of Sicily.
One of the party, a young woman called Anna, wanders off and becomes lost.
As they search for her, Anna's boyfriend and best friend become attracted to one another and eventually forget about their former companion.
The film's premiere at Cannes was a disaster, with the audience jeering the film when they found out the mystery of Anna's disappearance would never be resolved.
But the critics loved it, and L'avventura went on to be acknowledged as a classic.
阿李公:
我好難過...
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