旅行 El viaje (1992)

🎬 Screening｜《旅行》 / *El viaje* (1992)

十七岁的马丁在火地岛上过着乏味而压抑的生活：他厌倦陈腐破败的学校，也始终无法与继父真正相处。真正支撑他继续向前的，是亲生父亲寄来的连环画——画中记录着整个拉丁美洲神奇、荒诞又辽阔的景象。

Seventeen-year-old Martín lives a dull and stifling life in Tierra del Fuego. He is weary of his decaying school and unable to build a real relationship with his stepfather. What keeps him going is a comic book created by his biological father, filled with strange, vast, and wondrous visions of Latin America.

当女友意外怀孕、又在家庭压力下决定终止妊娠并与他分手后，马丁失去了留在家乡的最后理由。他收拾行囊，离开火地岛，踏上一路北上的旅程，沿着拉丁美洲大陆寻找失散多年的父亲。

After his girlfriend becomes unexpectedly pregnant, then under family pressure decides to terminate the pregnancy and leave him, Martín loses his last reason to stay. He packs his bag, leaves Tierra del Fuego, and begins a northbound journey across Latin America in search of his long-lost father.

从洪水中的布宜诺斯艾利斯，到荒蛮高耸的安第斯山脉；从现实的废墟，到似真似幻的红衣少女不断现身——马丁的旅程既是寻找父亲，也是一次穿越拉美现实与幻想边界的精神漫游。

From flooded Buenos Aires to the wild Andes, from social ruins to the recurring apparition of a girl in red, Martín’s voyage is both a search for his father and a dreamlike passage through the borderlands of Latin American reality and fantasy.

✍️ Notes｜《旅行》：索拉纳斯的政治寓言与诗意反抗 / *El viaje*: Solanas’s Political Allegory and Poetic Resistance

1. 流浪者视角下的拉美诊断 / A Continental Diagnosis Through a Wanderer’s Gaze

影片借由马丁的环大陆之旅，把 90 年代初的拉丁美洲拍成一幅社会病理学地图：阿根廷的新自由主义废墟、巴西贫民窟的暴力、秘鲁挥之不去的殖民记忆。公路片的移动形式，让每一站都成为一种社会症候。

Through Martín’s journey across the continent, the film turns early-1990s Latin America into a map of social symptoms: the neoliberal ruins of Argentina, the violence of Brazilian favelas, and Peru’s unresolved colonial memory. The road-movie structure allows each stop to embody a different condition.

2. 巴洛克美学的政治表达 / Baroque Aesthetics as Political Expression

索拉纳斯以高饱和色彩、倾斜构图与声音蒙太奇，把现实批判转化为强烈的视觉与听觉经验：红与蓝的对照、长镜头中的人群生存状态、探戈节奏与政治演讲的并置，共同构成一种既诗性又尖锐的电影语言。

Using saturated colors, tilted compositions, and sonic montage, Solanas transforms political critique into an intense audiovisual experience. The contrast of red and blue, long takes of ordinary lives, and the juxtaposition of tango with political speeches create a language that is both lyrical and sharp.

3. 第三电影传统的当代实践 / A Contemporary Practice of Third Cinema

作为“第三电影”理论的重要奠基者，索拉纳斯在本片中将革命寓言更新为文化抵抗的叙事：他用少年成长故事降低说教感，并引入新的影像手段，让左翼电影语汇进入新的时代。

As a key figure in Third Cinema, Solanas renews the language of revolutionary allegory by turning it into a narrative of cultural resistance. He softens ideological didacticism through a coming-of-age story and updates leftist film language with newer visual techniques.

👤 放映员 / Presenter

Brad

🕓 时间 / Time

周六（4.11）下午四点 - 下午七点 Saturday (Apr 11), 4:00 PM - 7:00 PM

📍 地点 / Venue

窄门书店 The Door To Bookstore