"Veteran experimental filmmakers Danielle Huillet and Jean-Marie Straub helmed this unusual adaptation of a novel by Elio Vittorini. Focused on the triumphs and failures of a group of laborers and farm hands who pooled their resources to operate an alternative collective farm after the end of World War II, Operai, Contadini features a cast of 12 actors who read aloud from Vittorini's book for the duration of the film, either reciting from memory or using a clearly visible script. Hardly designed to be a crowd pleaser, Operai, Contadini proved to be controversial among the audiences for its showings at the 2001 Cannes Film Festival, where it was screened as part of the Directors' Fortnight series." ~ Mark Deming, All Movie Guide
"The group makes up a primitive community which seeks to erase not only the distress created by the war but also the hardships of life and hunger, and to protect them from violence, misery and fear. Amid the ruins of this post-war period, the characters build and invent a rapport both in their professional and daily lives between themselves, the sexes, generations, diverse social and geographical origins, and antagonistic political camps.
The group maintains a 'register', a kind of diary, as if it were entering the minutes of an inquiry or a trial." -Steve Grayson
"my favorite Straub-Huillet films are Too Early, Too Late and Operai, contadini (2001), both color landscape films with especially acute senses of place as well as of nature in all its harsh beauty." - Jonathan Rosenbaum
老头超过九十岁了吧？做导演功力还在，做演员真替他捏把汗！
A story of being lost... and found.
熬夜看完了，以后的万圣节可能会拌Wednesday Addams🦇
终究比第一部差一点，最后结尾稍微肉麻了些，其他部分都很好，还是希望能有下一部
好弱智，看完之后更一般般，不然也不是一般般了
太差了，能把亚当斯一家做得这么俗套真是背叛了这一系列的精神。
老头超过九十岁了吧？做导演功力还在，做演员真替他捏把汗！
看了十分钟，果断放弃！拍个动画片都这么恶心！
依旧是对The Mule的延续，单程的，货物即是自己。
有趣即可-09/29/21 at AMC Garden State 16
就吵吵闹闹就过去了，这片子。看起来还是挺欢乐的，感觉叔叔永远是最惨的，姐姐永远是最酷😎的。
小女孩寻亲的故事，比第一部差了不是一个档次。
真正的直男，91岁手都帕金森还成天编排着大美女排队想睡他
想到彼得兔里面为了赚钱 让农庄兔大战星际超人的讽刺
8.1 之前看到朋友在学clint eastwood电影中的masculinity，那么本片恰恰是对其身上种种男性符号的回望与反思。年老的牛仔不再是任何一人的white savior，他只是一个身处异地的美国佬，一个动物的亲好者，一个真正的朋友。只有这般的去戏剧化，我们才能感知到东木的真实意图:这个时代不再需要macho了，而是需要更多的爱与哭泣。
好喜欢女儿面无表情的样子（以及每天变着花样折磨自己弟弟
画风好奇怪啊，又丑又恐怖，故事也完全看不下去，只觉得好吵
非常混乱的一部，但是百分百Wednesday就很吸引人了！
依然跟近十来年老爷子导演的不少作品一样更像是一部“成人童话”，能看到《完美的世界》跟《老爷车》的影子。其实真要说的话这部的水准在其导演的电影里可能只能是中等甚至于中偏下的，可是实在是太想念这种“一老一小还带个非人类动物角色”(那只公鸡堪称“抢戏大神”，就是没能再让其在这个故事里多承担一些分量)的故事配置了。故事线简单明了，可处处透露着一股藏不住的真挚(这种情感上的拿捏也算是东木老爷子最拿手的之一了)；当然，这样直白到有些过于平的故事可能也是考虑到了老爷子的实际年龄，毕竟头一次感觉到他说台词的时候真有些“有气无力”了(有段驯服野马的戏都是远景，估计也是因为只能用替身上了)，不得不感叹尽管老爷子依然健朗，可还是服老了。三星半。
他们家就是我家的装修范本！我永远爱这母女俩！
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