《O somma luce》是由知名导演讓-馬裏·斯特勞布 执导的一部劇情片，Giorgio Passerone 等倾情出演，该片讲述了：　　轉自：http://www.filmlinc.com/nyff/ 2010/vie ws-from-the-avan t-gar de-friday-october-1 /views-from-the-avant-garde-jean-mari e-straub　　“The end of paradise on e arth.”—Jean-Marie Straub 　　The 33rd v  erse and  last chant of “paradis e” in Dante’s Div ine Comedy.  The film starts with verse 67,  “O somma luce…” and conti nues to the end. “O So mma luc  e” recalls the fir st wor ds uttered by Em pedocles in Danièle Huillet a nd J ean-Marie Straub ’s 1987 The Death of Empedocles—“O  himmlisc h Licht!…” (O heavenly light! ). This ex tract from Hölderlin’s text  is als o inser ted  into their 1989 film Cézanne.　　“O somma luce  ” invok  es utopia, or better still  “u-topos ,” Dan te,  Holderlin, Céza nne… the  camera movement, re calling Sisyph us, in th e film’s long shots, suggests its  difficulty.　　In O somm a luce, with Giorgio Passerone’s Da  nte and the verse that concluded the Divine Comedy, we find at the extre mity of its possibilities, the almost happy  speech of a man who has just lef t earthly  paradise, who tries to fully re alize the  potential  of his  nature.  Between the t wo we find the story of the w orld. The first Je an-Marie Straub  film shot in H  D.　　So sing ular are the textual working methods of Straub-Huillet, and  now Straub on hi s own, tha  t it is hard to grasp how far reaching they are. D irect ion is a ma tter of words and s peech, not emotions and action. No thing happe ns at the edges, everythi ng is at the c ore an d shines fro m there alone.　　 Durin g the rehearsals we s ense a   slow proce ss by which ingre  dients (a t ext, actors , an intui tion) progress towards  cohesiven ess. It is, forgive the compari son, like the  knead ing of do  ugh. It is t he assembling and working of something unti l it becomes  something  else… and, in this case, starts to shine. Actua lly it’s ver y simple, it’s j ust a questi on of opening up  to th  e light  material that has be en sealed up. Here, the pr ocess of  kneading is to br ing to life and then reveal. The  material   that is worked  on is speech.  So it is s peech that becomes visible—nothi ng else. “Lo gos” comes to the cinema.　　The mise en scène of wh at words exactly?　　The  process of revealing, “phainestai”; “phainomenon,” the  phenomenon,  is what take splace, wh at becomes visible  to the eye.　　Is “Stra ubie” Greece?　　This mis e en scène  of speech, which go  es beyond a close reading of the  chosen text, is truly com es from a d istant sour ce.—Barbara Ulric h　　这一次，她直接从袖 中暗袋里摸出一个大型储物袋， “知道我要来见您， 不仅爷爷让我给您带了好些  黄金谷做成的米饭 和各类点心，就是我师父师叔他们，都逼着宗里的大师父，给您弄了好些好吃的，我 师姐采薇还把她弄的极品花  茶给我了。”