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肖雨,韩东霖,王一舟,冯若航,彭乙航,张沙沙
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李正河,金道完,林贤太,金相镐,金周灵
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仲村宗悟,笠间淳,木村昴,神尾晋一郎,三宅健太,岩崎谅太,坂本真绫,小林亲弘,松田健一郎,濑户麻沙美,宝龟克寿
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郭京飞,王千源,赵今麦,任重,王佳佳,宗俊涛,张歆艺,葛四,赵倩,赵麒,方圆圆,田征,时男,国永振,尹智玄,解子腾,孙延笙,孔冉,赵川,薛宇槟,吴虑虑,郝燕飞,陈宇喆
Med Hondo uses this tracking shot to establish the setting of his feature film West Indies ou les nègres marrons de la liberté (1979), while opening up a much larger space 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 glide into one other as elegantly as the 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.