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剧情简介 《Villa Empain》是2019年的一部纪录片。由Katharina Kastner精心打造的，电影What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of
a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.
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inotherwords 说：综合来说这部片子其实就是Villa Empain这一场所的委托项目-导演Katharina Kastner的实地拍摄以及大量应该是由场馆本身提供的历史资料。片尾的文字解释了此场所的历史变迁以及其功能扮演作用等等，但在此之前我已经猜到差不多了。像历史状态时平台晒日光浴的女性用的静态图片，放映胶卷时尺幅和特地放大的机器噪音，翻阅的旧剪贴簿与笔记一系列的提示。导演将所捕捉到的场景比如在户外观看场景的全景和各种物品的材质细节交织。显而易见这部片是关于诠释这个场所的状态的它历史状态它现时的状态。也有很明显的提示它是作为一个当代艺术的承载场所：来往参观的人、installations、驻地艺术家（特别是驻地艺术家本来就是要和场所发生紧密联系的）。场所承载了时间的变迁、状态的更改、参与的生命。以及也算是成
三十 说：使用16mm拍摄的“现在”和一些古老的archive影像结合在一起很合适。时而小资，时而有回忆和情感的怀旧，时而有些对建筑纹理结构痴迷的形而上，很温柔，也微微地忧愁。但考虑到纪录的本质，这一切单纯的美感不知指向何处。
Yinanaa 说：mark入院出院以来第一部看完的电影。完美的通感电影，看到（听到/触到）头皮发麻。时光之脚步妙不可言。
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