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剧情简介 《华沙的桥》是1990年的一部剧情片。由佩雷·波尔塔贝利亚执导，卡梅·埃利亚斯、Francisco Guijar、Jordi Dauder等联袂主演。华沙的桥，又名Pont de Varsòvia、The Bridge of Warsaw。西班牙先锋导演Pere Portabella的代表作之一,这可不是波兰的华沙而是西班牙的"华沙"... http://www.pereportabella.com/ Pere Portabella (b. 1929, Barcelona) is a veteran Spanish filmmaker whose narrative features—rich in interludes, plot diversions, atmosphere, and unexpected synchronies between sight and sound—limn the avant-garde and expand the expressive potential of cinema. Portabella, who began his cinematic career as a producer of fiction films implicitly critical of General Francisco Franco, had his passport revoked when Luis Buñuel's Viridiana (1961), which he helped to make, "embarrassed" Spain at the Cannes Film Festival in 1962. When democracy returned to Spain, Portabella served as a senator in the Catalan government. However, throughout his various careers, Portabella continued to make cinema, investigating meaning in the moving image and flexing the notion of genre—particularly for horror films, fantasy films, and thrillers. Warsaw Bridge. 1990. Spain. Directed by Pere Portabella. The idea for Warsaw Bridge, a less conceptual film than Accío Santos, started from a line in a newspaper: "The body of a scuba diver was found in a burnt forest." Portabella elaborates narrative fragments from this kernel in a procedure that recalls that of the French nouveau roman. Made as the Cold War was ending, the film critiques the Spanish intelligentsia's indifference to political and historical change. Warsaw Bridge is dated 1989, the year of the fall of the Berlin Wall. If the predominant look in Nocturno 29 was that of the upper classes in the sixties, in Warsaw Bridge we have shining images of the new intellectuals and the amnesic, progressive, European political classes. But beneath that sparkling surface of spectacular socio-cultural events and the frivolous life in a happy Europe, lies the tension of broken memories and personal and historical cataclysms. Filmed as meticulously as contemporary commercial cinema, Warsaw Bridge shatters the plot into a thousand fragments in a European landscape broken by the return of History. It is therefore not strange that two years later Godard should be the author of a sibling film, Germany Year 90 Nine Zero, explicitly the heir to Rossellini’s Germany Year Zero in 1947 post-war Europe. Regardless this film is incredible visually and emotionally. Definitely not for the fan of Hollywood films, or even independent films, or actually any film with any type of structured narrative. But if you let the film take you and suspend and expectation the reward is very worthwhile.
综合评分：
DVD电影网评分6.8，算是一部中等的电影作品，感兴趣的朋友可以看看。
影迷点评：
alain.proust 说：一宗离奇命案的回溯，目击记忆如赎回照片，城市街道隔空合奏、剧场庄严合奏、海鲜仓库的美声对唱、浴室裸女合唱四场音乐会为情节散之又散的故事过场创造了脱离于故事逻辑本身的新结构，镜头时而庄重凝滞时而灵动跳跃，图书馆楼梯论辩、地铁大破坏怪巧奇崛，另外做爱一场犹如《广岛之恋》那个极具文学性的开场。
近似无限透明的蓝色 说：屠房街市里的吟唱，如同现代艺术的视觉装置；沿着楼梯学术探讨的回声，都是普通人难以接触的文学范本。声响与视觉控制下，带动过于文学性的叙述，结尾时的偶发性和悲剧意味，想起奇斯洛夫斯基。这个极为私密的剧作，难以用电影常识去解构，权当是一位作家尚未修饰完成小说的原稿吧。
只抓住6个 说：西班牙先锋导演Pere Portabella的复杂代表作。杂糅了多种元素且没忘了建筑，群贤毕至的party直接就是在密斯巴塞罗那馆里举行，而且还有行为艺术模仿那个雕塑。影像声音都较精心，大意是反映冷战后知识阶层的不适感（瞎猜的）。此华沙非彼华沙，在西班牙
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