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The world, life and work of Jaime Fernandes, a peasant born in Barcos (Beira Baixa, Portugal), who was diagnosed with paranoid schizophrenia at the age of 38 and interned in a sanatorium in Lisbon, Hospital Miguel Bombarda, where he died at the age of 69. When he was 65-years-old he started to paint and during the short period of life-time until his death he made a brilliant pictorial work, influenced by the social environment and the sanatorium daily-life.
For the Portuguese-speaking members a lot of information about the film and director can be found here: http://antonioreis.blogspot.com/
For the French-speaking members: Critic de Jean Louis Schefer, Cinmathque-http://antonioreis.blogspot.com/2007/07/160-jaime-crtica-de-jean-louis-schefer.html
观众心声
追忆故人，声音是记忆的梦魇
看这种电影是一定要睡十分钟的。
喜欢对画作的镜头处理和老旧的黄昏。
精神病院的场景第一印象太像是一个“天然的”实验基地，对生存环境的观察沦为一种“凝视”，而画作作为病患者痛苦来源的具象化表达（那些眼睛嘴巴很是有趣），最终由配乐/音效来传达冲击…
雷斯夫妇的谦逊在于尊重所有客观物质的外貌，或者说质地——无论是葡萄牙北部的贫瘠风光、精神病院内一面苍白的墙或者Jaime那些画作内的疯狂笔触还有，当然，画作的全貌——以及对以主观视野替代客观实在的拒绝，这也使得他们的摄影机拥有将一切景物转化为静物的超然魔力，抹平深度的时空褶皱，就像对罔顾创作时序的癫狂线条的流动组建那般对待实在的景色。因此如果说斯特劳布夫妇的镜头就是岩石，那么雷斯夫妇的镜头就是静物。 但请注意，这不是塔可夫斯基式的沉思，镜头是在不断游移，以无人称的方式探寻着几近于无限的物质空间，与光影相配揭示出其迷人的触觉感受来，并且就像那个与《一条安达鲁狗》相仿的牛眼所暗示的那样：“进步性”意味着我们不再需要一把利刃去进行残忍的切割，不需要损害物质就可一窥其美丽之处。 2024.1.24
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