【女巫】 剧情介绍

"The Witch Burnt Alive"
After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film‘s running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It‘s a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous.
"Community Spirit"
Bolognini‘s piece isn‘t really a story. It‘s more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won‘t give away the punchline here, but it succeeds in being amusing, even if it‘s the kind of thing that only is interesting the first time through.
"The Earth Seen from the Moon"
The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it‘s probably the most appealing of Mangano‘s five performances, and Toto is terrific.
"The Sicilian"
Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It‘s violent, but easily the least satisfying of the five stories.
"A Night Like Any Other"
Eastwood‘s appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It‘s an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple‘s past romantic interludes, and dreams of how their lives should be.
女巫的短评：
3.5星。撒旦化身黑山羊害她全家，女孩初脱学写字入我魔教。
浓郁暗黑的中世纪风格，“人生而有罪"的原罪主旨贯穿全片，一个家庭的以点窥面，突显宗教彼时的社会功能；室外自然光阴沉逼人，室内烛火高度明暗对比，如同走进”时间的暗影“；配乐一绝，如万千小虫抓挠撕咬，泛起层层鸡皮疙瘩，戛然而止却不见鬼影，心理层面的诡异更让人不寒而栗。
当一部电影百分之七十的内容我都没听懂的时候，我觉得我没有资格评论...
如此牛逼的恐怖片，豆瓣6237个人给了个6.7分，看来恐怖片真的不受豆瓣小清新们的欢迎啊。电影里巫术不多却足够神秘恐怖，气氛和悬念的设置也堪称一流。如果对撒旦崇拜和中世纪巫术不了解的话，那观看这部电影的时候就会失去很大的乐趣。片尾压轴的仪式只是点到为止让人不爽。可以说是近几年恐怖片最佳
高潮收得太急太快。
作为恐怖片一点不吓人，你咋不上天呢？
VVTF
8.4 信仰的丧失，女巫的入侵，青春新鲜的女性性魅力是撒旦的最爱，而历史中女巫这种概念也是在男权社会对女性性魅力的压迫与责备中产生的。本片有不少带有压迫感的镜头构图与张力不断被提升的推镜，然而它所展现出的恐惧不单是画面与声音上的，更多的是来自于角色的心理层面，其剧本也更倾向于低概念。
故事所处时代的特性很诱人，“女巫”有多种化身，不祥的动物、也是对人(信徒)的罪的指控，最浅显的即是女性地位失落的体现。配乐做得最出色，进阶地渲染着角色心底的紧张不安，最后女巫的群舞则近乎释放。聆听你祷词的不只是上帝，不成人就成魔。演惯疯魔角色的Kate Dickie阿姨这回明显还没过足瘾
一堆别人玩儿剩下的“复古”构图和符号加上几处误导性的剪辑和漫长的黑屏就是新一代的吓人怪了哦……问题是还那么小的孩子就被用来演这种神神叨叨的东西真的人道吗（啊看，有裸的女巫在天上飞…
真正的文艺恐怖片，一个清教徒家庭的噩梦。导演参考了很多美国早期移民时代的精怪传说，成功把悬念守到了最后。小成本玩出高逼格的典范。
邪魅狂疯恐惧氛围，谜底却是莫名其妙超自然，晦涩宗教魔鬼灵异，尽管在拍摄技巧上很赞，有英国早期人迁移美国，全家饥荒之年灭门疯狂影射，拿圣丹斯最佳导演奖，但不了了之女巫飞起、羊杀人突兀镜头，真心贼沉闷乏味
难得一部沉得住气的佳片，摒弃了巫术题材光怪陆离的风格，抽丝剥茧的展现了一个家庭信仰崩溃的全过程，精致的复古风加上兔子、黑山羊、双胞胎等传统恐怖因素的点缀，相当诡异，女巫寥寥几个镜头足以惊艳，完美表现宗教信仰摧枯拉朽的力量。
可以想象这片出源以后会被骂的很惨 与其说是恐怖片不如说是文艺片 很多致敬恐怖经典的地方 以及气氛烘托的很好 但对于我们这些没有信仰的人想理解西方的恐惧确实不易
就这样！！！然后就没啦？？？？？
太生硬了。同样搞性冷淡森林恐怖片这一套，跟沙马兰的《神秘村》比起来简直天上地下。
我：文化水平的低下 看不懂。。。
万物皆可为女巫，皆是魔鬼动摇人类信仰的工具，确实是一部看完之后让人不寒而栗的恐怖电影，配乐和桥段都相当不俗，剧情简洁明了，结尾10分钟相当震撼。
魔鬼来自于我们之间。一直不太吃西方宗教驱魔女巫这一套，但《女巫》落在白人进入美洲的新世界开端，自带了中世纪暗无天日的尾声，凄厉不绝的音效和角色平衡感处理得不错。恐怖来自家庭内部的分崩，男权对女性的审判，正如撒旦来自最虔诚狂热的信徒——他们不容许有任何一点点的背叛与亵渎。
啥最棒的恐怖片呀，就镜头长一点色调冷一点能显得逼格高一点的走进迷信。剧情嘛就是即使用这样神神叨叨的BGM，也接满了叫人想打居委会调解热线的地气。主角脸上都挂着我是冚家铲的剧透相，被逐走的时候就一马一车别无长物，转眼有房有田有好几只羊了…还有只黑山羊，这蹊跷你也敢养也真是平时白迷信了