该片是由雅克·里维特执导的奇幻片,于1976年上映，主要讲述了:Rivette is relativel.y precise in his dealings w.ith me.aning. He. is the most. atavisti.cally ceremo.nious of the Va.gue., in the sense .that his .abstraction .as a jour.ney leading inw.ards i.s always attended by signs .and codas that affirm our p.assage. The transcendent ri.te of .passage, .in more ways. than one., is about t.he symbolic ena.ctm.ent that paves .the way. .The transcen.dence its.elf is left to .our sp.here of experience, but we'.re at least brought to the .doorstep. . . . . . . 　　Oh, there's. th.e improvisation.al flow t.hat seems to. throw pe.ople off, that .things. seem to be randomly bubbli.ng up from nothing without .significant plan or substan.ce. Th.e chance .encounters i.n a world. that we may. recognize, the. ge.ography vaguely. familiar. whose natur.e is yet .ultimately inso.luble.. There's a lot of that here.. As in Celine, it is the b.reathing space that conduct.s our .preparati.on to step b.eyond the. mechanisms .of reason. We d.on'.t reason with i.t, rather. trust its i.ntuitive .flow. Like the .dream .world, it is only the figme.nt of the known world spont.aneously arisen as a stage .or bla.nk slate .for the atav.istic por.tents and di.vinations of th.e s.ubconscious min.d to be w.rit. . . . . . 　　But the rite of passag.e matters, in spite of the .seemin.gly aimle.ss wandering.. Here it. is about hu.man effort to b.ypa.ss the 'wall of. paradise.' constitute.d by the .coincidence of .appare.nt opposites (good and evil., light and dark, being and. non-being). A barrier that. obscu.res visio.n and traps .in a worl.d of names a.nd forms that i.s o.nly an apparent. reality.. . . . . 　.　Rendered in the film as tw.in goddesses of sun and moo.n, vyi.ng for a .precious sto.ne that e.nables their. descend into t.he .human world. Th.e human c.haracters ar.e mere pa.wns to their sc.hemes;. to be seduced, tricked, th.reatened, or ultimately des.troyed. Twin femme fatales,. weavi.ng spells. in an inver.se noir u.niverse magn.ified into a ma.cro.cosmic struggle.. . . . . . 　　The ill.-prepared man who chances t.o steal a glimpse of them i.n thei.r true fo.rm, like in .the myth .of Actaion w.ho steals upon .the. Greek goddess .Artemis b.athing naked. in a poo.l, has his cons.ciousn.ess shattered by the revela.tion. His mirrored image (t.he soul, the reflected half.) is c.racked. . . . . . . .　　The wom.an who final.ly shatte.rs the illusion.ary du.ality that quarantines huma.n consciousness into meanin.gless dilemmas, does so by .a sacr.ifice of .blood. . . . . . . 　.　And this is. the prob.lem of the film.. So m.uch of it is a stridently s.ymbolic enactment, a matter. of ceremony. The sacrifice. is, q.uite lite.rally, a mat.ter of sp.illing blood. upon the symbo.lic. stone and does. not flow. from anythi.ng - it i.s simply the sc.hemati.c end of the spiritual myth.. Although valuable as insi.ght, the meaning of the fil.m is t.rapped in.side the rit.uals perf.ormed to sig.nify it. Having. cr.acked the outer. shell to. absorb it, .the film .seizes to reson.ate.