视频简介
Last Rights is a supernatural drama that explores the struggle of those who have answered an ad and accepted a deal from a man named Concord. Concord negotiates to allow access to Nirvana, where all worldly troubles disappear. In exchange, those who accept the deal must give him all of their possessions and stay in a house for one week. In the house are four caretakers who test each participant to see if they qualify for Nirvana or if they end up in the graveyard behind the house. The series explores and questions faith, morality, tolerance, and common sense| these are the tests of the caretakers. At the end of each week, Concord returns to the house to evaluate the test results of the participants to decide the fate of each guest and of the caretakers. Set in small town America, at the end of a charming little street. This house has stood here long before anyone can remember, or anyone can forget. It has it's own personality and once inside you truly understand what that means. Whole floors will appear and vanish, walls will move, and artifacts will be uncovered, all so the house can show you your purpose for being there. Not even the caretakers can truly understand or control the will of the house. It is truly the key to all the answers that the caretakers and guests are looking for. In season one, the house, which we find out, is possessed with the spirit of Concord's mother and Concord are waging a war of power to control the house. Caught in the middle are the guests as well as the caretakers. "Mother" and Concord alike will use these people as pawns to gain the upper hand. All this, as the caretakers try and conduct their "business as usual". Not to mention a graveyard full of spirits trying to get out. Everyone battling to keep their Last Rights!。1984年七月， Varda 在 Avignon 的一棟養老院裡看到一個名為《活生生與人造的》（Le vivant et l'artificiel）的展覽。展覽場裡，藝術品與動物、人工心臟、發霉的牆壁混亂地共存著。視覺上的震憾讓她久久不能自己，於是她決定帶領我們，重回險地。我們看到一間間住宅，或空的、或滿的。隨著時間流逝，卻留下奇怪的痕跡。另外， Varda 也在這家養老院裡遇到了即將是《無法無家》裡的「女僕」 Yolande Moreau 和「老太太」 Marthe Jarnias 。 Varda 曰： 『在高速火車的搖晃下，我無法讓自己不去想–那些我的精神正試著去吸納的不協調的影像。一到巴黎，我立刻打電話給 Louis Bec 和 Bernard Faivre d'Arcier ，要求他們讓我去拍這個展覽，不是為了去理解它，而是為了從中汲取靈感。他們答應了。幾天之後，我們出發前往拍片。在回到 Avignon 的高速火車的搖晃下， Nurith Aviv 要求看我的大筆記，好知道他將要拍的是甚麼。筆記紙幾乎還是空白的，我們只看到一些標題：廚房、父母的房間、用餐、窗戶。所有的家庭生活都註記到了，但沒有一樣是準備好了的。整部影片完全是以即興的方式去拍的，沒有標記、沒有脈絡。我只不過是跟隨著因參觀現場而感受到自己真實的心臟跳動，和那些仍然令人感到溫暖的老人的存在。』 A. Varda,1993年, in Varda par Agnès, Ed. Cahiers du cinéma, 1994.。