宿命或许是圆的,如果真的有宿命这样东西存在的话。生命的两点以某种方式相联接,就像《露西亚的情人》里,西班牙导演朱里奥•梅德姆借罗伦素之口说:这个故事有很多优点,最大的优点是它没有结局,它的结局是一个洞,你会掉下去,然后回到中间重新开始……
这是梅德姆完成于2002年的作品,在当年曾获得诸多奖项。像他的《北极圈恋人》一样,故事的主角是命运、生活和欲望。梅德姆仍然采用他习惯的时光交错的叙事,用纷繁的人物和线索构筑了一个结构的迷宫,然而仍有许多暗示指向出口,它们似乎证明了故事本身的逻辑,纵然人生有无数巧合,宿命却是必然回归的终点。
圆形的宿命意象在电影中反覆出现,满月,手中的石头,海滩上的洞,还有岛——影像被调高亮度,以强调小岛耀眼的阳光。它有着无尽美景,然而没有根,没有任何一块石头与陆地相联。它是一个逃离现实的洞口,一块飘浮在地中海上的浮木。罗伦素、露西亚、依莲娜先后回到岛上,或是逃避或是找寻深爱的人,然而早在他们发觉之前,小岛已经将他们三人紧紧联系。
在马德里的公寓,露西亚曾问罗伦素:你喜欢同一个陌生人疯狂地做爱,还是同一个你熟悉但深爱的人疯狂做爱?这个问题让我想起那句诗:这样的确定是美丽的,然而变幻无常更为美丽。
它其实在问,究竟罗伦素需要的是确定,还是不确定?罗伦素看着露西亚的眼睛,他选择了确定。而剧情依然用一连串巧合与偶然串连起来。罗伦素是一个不得志的小说家,他偶然间发现一个与他曾有一夜情的陌生女人带着他们的孩子也住在马德里。数年前,他俩在小岛的大海中相遇,那天夜里,一轮满月,他们女儿就叫做“月”。
人生常常只是在轨道的边缘滑行,我们必须像一个平衡演员,不让自己掉下去,还要空手接住命运抛来的一只又一只苹果。被一种危险的念头蛊惑着,罗伦素开始找寻女儿,并且拿自己的生活作实验,继续那篇无法继续的小说。这是一个几乎注定要失败的游戏,因为生活的世界永远比想象的世界强大。罗伦素被卷入另一段情感,欲望与乱伦,这些也许是吸引人的小说,却是生活的地狱。他失去了女儿月,也丢失了自己,几近崩溃。
卡洛斯是电影中另一个好人,他知道小岛的秘密。他对露西亚说,“每当涨潮的时候,这个岛上的人会感到旋晕,没有人知道为什么。”导演梅德姆以晃动的慢镜头控制着这种晕眩,沉重的宛如从深海传来的呼吸声,加强了时间的绵延。当每一个人被带到命运之前,他们像海底柔弱的水草一样摇摆。这种以镜头渲染人物心理并描绘潜意识的方式,梅德姆运用起来得心应手。
在经历几乎丧命的车祸后,虚弱的罗伦素来到小岛,命运终于带他回到正确的地方。他曾在网络中用小说安慰过丧女的依莲娜,他对露西亚的爱情也帮助他找回自己。在电影结尾,罗伦素说他的故事也有一个缺点,那就是你可以回到故事中间,任意修改情节。
这个结局虽然欠缺悲剧气氛,却无需我们做任何修改,它自成了圆。
周末颇看了些好电影,Sex and Lucia(Lucia y el Sexo)是其中一个。
我对于好电影的标准特别宽泛,只要画面唯美,音乐动人,情节紧张曲折,结尾出乎意料,我就觉得是一部好电影,无他,给我带来两个小时的愉悦,这不就是一部好电影么?
露西亚的情人就是这样一部好电影,整整两个小时,呼吸一直随着情节跌宕起伏,每个转折我都尝试猜测结果,每次都猜错。直到最后,结果出来,不那么阴郁的结果,留给看的人一丝阳光。
以下内容是剧情介绍,如果准备自己看的就请跳过,以免破坏新奇感:
The story has two main threads, one taking place in the present, and one taking place six years earlier leading up to the present. What is clear is that Lorenzo (Tristan Ulloa, Don't Cry Germaine) is famous author with writer's block. Years ago, he had a one-night stand with Elena (Najwa Nimri, Before Night Falls, Open Your Eyes). She had a daughter, but he doesn't know this.
In the present, Lorenzo's relationship with Lucia (Vega, Nobody Knows Anybody, I Will Survive) is just over. Lucia cannot stand Lorenzo anymore, and he now realizes how much he needs her. After a phone call from the police, Lucia believes Lorenzo is dead and goes to the island that inspired Lorenzo's writing to search for some sort of catharsis. There, she rents a room in a boarding house and spends the day traveling around the island. Medem then flashes back and shows the how Lucia and Lorenzo got together. Lucia was a huge fan of Lorenzo's first book, and she essentially threw herself at him. Their initial relationship consisted mostly of sex, which Medem filmed in unnecessarily graphic detail, as is the style in Europe these days. This can show any number of things; how tenuous their relationship is, how strong their relationship can be based on so little, or how spontaneous and free Lucia is. Their relationship begins to crumble as Lorenzo's novel fails to materialize on a timely basis.
Lorenzo works in the school of thought where he writes what he knows. This is where things get especially confusing, especially as the movie moves into its third act. As the sex with Lucia becomes more intense, his novel heats up with similar situations. So is he writing what is happening to him, or is he imagining what he wishes would happen? He begins to incorporate Belen (Elena Anaya, Fading Memories, Where the World Ends) into his novel. Belen, Lorenzo learns, is taking care of his daughter Luna (Silvia Llanos). He spends time with Belen because she spends time with Luna, but eventually their relationship becomes much closer. Some of the twists and relationships that exist between the characters become a little along the lines of a bad soap opera, but this is forgivable since Medem goes about it so stylistically. Everything turns back on itself, and everybody, sooner or later, comes back. Things begin getting extremely confusing, and there are multiple ways to interpret the ending, each one satisfying. Watching Sex and Lucia requires some thought, since things flash by quickly that have meaning later.
quote from haro-online:
Visually, Sex and Lucia is enthralling. Filming sex is difficult, adding the element of eroticism especially so. Lucia and Lorenzo (and everyone else) literally attack each other in bed, moaning, writhing, stripping, and playing with all sorts of things to sultry music by Alberto Iglesias (All About My Mother, Lovers of the Artic Circle). Medem films in such a way that parts of Sex and Lucia look like a dream, and this doesn't help understanding the movie any better. The island represents a happier time for Lorenzo, which is why Lucia goes there. On the island, the camera emphasizes the sun; everything is incredibly bright. It is as if nobody can hide anything, and the sun can cleanse away anything bad. And Medem isn't just using graphic sex to lure people in. The most explicit stuff tones down after the first half hour or so, and Medem then takes time to flesh out the characters more. Lorenzo is dealing with paternal instincts, Lucia with love, and Elena with betrayal. The characters quickly learn that they need more than superficial things for happiness. By the end, aside from the mass feeling of confusion and awe, it's also clear that at heart, Medem is a romantic.
看了眩晕了吧?还是说说八卦
提起西班牙电影,当仁不让的是阿尔莫多瓦,不能不提的还有近几年国际影坛名声雀起的难得的“双才”(天才+鬼才)--胡里奥.梅德姆(这位先生此前的作品就有非常棒的《牛》、《红松鼠杀人事件》、《北极圈的情人》),他被誉为阿尔莫多瓦接班人,其影片中诡异、迷离、唯美的特色在露西亚的情人一片中表现的淋漓尽致。
影片设定的外景是地中海一个小岛,无论是月色撩人的夜晚还是阳光灿烂的正午,每一幅画面都如同毕加索的风景,表面平静如水,深处波涛暗涌,胡里奥是个讲故事的高手,他把《露西亚的情人》这样老套的故事,讲得扑朔迷离,跌宕起伏,用一种错综复杂,古怪,偏执甚至一种近乎病态的人物关系和人物来结构自己的故事。
影片女主角是Paz Vega,她在阿尔莫多瓦《对她说》中出演Amparo
http://heybeauty.com/feifei/archives/001676.html
世界上似乎只有这几个人一样的戏剧性,有点做作,但还不错。海岛片我很爱
优秀的情色电影就是看的时候手不会乱动
比我想象的要严肃
the intensity, the strength, passion, craziness and the fascinating love. smart connection of all of them, sexily, spiritually, deeply.
伏尔泰曾说过:Tragedy comes from testicles.
如果说林奇的片是乱中有序,那这片就是乱得毫无章法,甚至还有些卖弄的意思。(相比悬疑和情色,我倒是对那个西班牙海鲜饭更感兴趣…)
人生是一部被改烂的小说,每个人都有自己的落笔、起程、转合、收笔,爱情则是那些美好的词藻,你费尽心思写却不一定得到你想要的。露西亚和小说家互跳脱衣舞那段跳得满室春光四溢,很多的情爱镜头被处理得恰到好处的美。片子隐喻、暗喻很多,被光影转得头晕,贯穿全片的配乐却美得惊人
真难看,本来是一星的,还有一星给两人做爱那一段和艾莲娜的表演。女主角很像薇若那赖德。我实在是不喜欢这种拍摄方法,完全是不知所云,没有任何感动。
有情有色有故事,需细需品需回味;情色故事,细品回味。
每当看见礁岩下蓝湛湛汪汪清的海水时,我都有一股想扎下去的冲动。
影片名字以露西亚为标题,但实际上却始终围绕着洛伦佐,无论是他的一夜情、他的欲望、他的女儿、他笔下的故事,由他延展出的三个女人和她们交错的人生……一部情色片倒也能看出悬疑玄幻甚至有点惊悚的感觉,无论在那个洞里穿梭过几回改过几次结局,选择相信哪一种故事走向就是观众自己的决定了。
“是一束阳光,还是沉入海底。” 西班牙电影往往如此,小众情色,大众爱。它们的绝望似碧血黄沙,不彻底的诗意。
很欧洲
两个多小时的电影,有点拖沓了。但风光还是不错的,看了也有去那个小岛过一个夏天的冲动。
我喜欢的有这些:漂浮的岛,岛上的洞,美人鱼,马耳他这个名字,被狗咬死的小女孩,作家窗台上的阳光,作家笑起来暧昧的嘴角,露西亚的卷发和走路摇摆的姿态,优异的故事所应具备的两个条件,公园的长椅,螃蟹,最近的月亮,月光下的海,当然,还有他们的性。如此潮湿的一部电影,连月亮也澎湃起来。
我发现凡是我期望值为零的电影都很不错
那个色啊
她忽然意识到他的离开是真实的。不能抵御的疼痛使她只能来回地疾走在海滩上,颤抖地不停地对自己说:不,不去游泳,我一个人,一个人,一个人走在阳光下,我一个人也能活下去……眼神固执而坚强
想起《百年孤独》,重复眩晕总是爱得一塌糊涂。 情爱场面极佳典范。
再次证明西班牙人讨论欲望的时候从不绕弯子。岛/洞的隐喻同时指向爱情与身体。作家的设定、人书不分、角色重叠虽不新鲜,但的确增加了层次。一股潮湿的海风腥膻之气中间,又有真爱的眼泪。表演蛮好的。中段觉得剪辑、摄影很有想象力,后头却失之凌乱,没完全控制住。