It’s winter in France, the light is dull, the camera pans over a snowy wasteland and enters a massive construction of steel and glass that is open at the sides, stopping in front of the reproduction of a wooden ship. The structure that juts out over the upper@步步惊心电视剧下载@ deck is inscribed with the words @欢乐颂2剧情分集介绍@‘Liberté, Égalité, Fraternité’.
Med Hondo uses this tracking shot to establish the setting of his feature film Wes@市区@t Indies ou les nègres marrons de la liberté (1979), while opening up a much larger spa@澳门风云2演员表@ce to the imagination at the same time. The ship turns out to be a most versatile stage for a grotesque narrative of colonialism, slavery and the struggle for independence in the French West Indies. Med Hondo explores his many themes in this limited space, whether it be the Middle Passage, marronage, abolition or the history of labour migration to France. The film marries an aesthetics of thrift with the flamboyance of a musical; different time periods gli@童话二分之一剧情介绍@de into one other as elegantly as th@风车樱花动漫 专注动漫的门户网站@e geographical points of reference; and only occasionally do the actors’ visible exhalations, an alienation effect created by the cold, remind us that West Indies was not shot on Martinique.
