五恶魔

“在我不存在之前你爱我吗？” 是只能被Julia看到的那个之前吗 那恐怕回答不会是Always/我理想的爱情是超过亲情友情的 但就只能仅仅是理想

几个问题：

Vicky绝顶的嗅觉有什么用吗？

Julia为什么认不出Vicky？

：我想或者Julia是看到贺卡才选择回来找Joanne的吗（贺卡照片上有Vicky？

Joanne为什么游泳？

Joanne怎么抢走Jimmy的？他俩到底为啥在一起？(°_°)

：Joanne是被追求的吧 感觉Jimmy是喜欢Joanne的 至于Jimmy跟脸脸为啥do 应该是Jimmy太累了？

Jimmy最初在消防站上班的镜头有什么玄机吗？

Vicky怎么知道Julia在湖边？

最后的小女孩是谁？

：我的猜想 或许Vicky收集了那么多妈妈的味道 并不是因为什么嗅觉 或许她跟Julia的身份一样 那可能她也有一个小女孩儿 /循环了

……

镜头都很好看 配乐也都蛮好的 片尾的歌好喜欢 尝试了q音和☁️都搜不到(;_;) 看完觉得故事很真

Slashfilm记者Lex Briscuso采访演员阿黛尔、导演蕾雅·梅西斯、共同编剧保罗·圭哈姆。

关于电影的主题、片名的意义、演员的选择、表演的感受、对观众的期望。

原文链接：Slashfilm

截取部分问题，以下是采访原文：

Lex Briscuso: How was this story born from within you? What influenced you or inspired you? It's a very unique story yet it plays with a lot of really universal themes.

蕾雅·梅西斯: The idea came from a personal interest. You know, I've always been very interested in smells and aromas and scents since I was a child. I used to play with my twin sister and we [would] concoct different potions and try to make up cigarettes with flowers that we picked up in the grass and in the wilderness. It's an interest that I've been cultivating up to now. I like to guess the elements that make up a perfume on someone, or the smells that I smell in the street. But, I did not want to set a film in the perfumery industry. I wanted it to be a more primal, primitive story, more central and sensory oriented.

So I had this idea of having this little girl with these unusual powers, and the character was much influenced by the fact that I was reading a lot of American literature at the time, James Baldwin, Jim Harrison, and Maya Angelou. In those novels, the fact that the characters and the places become legends and they deal with universal themes is what really inspired me. So, I wanted this little child to wonder where she's coming from, and to wonder the extent of her mother's love, a mother who somehow is hiding a secret, and she knows that she's hiding a secret. She's trying to do all she can in order to disclose [her mother's] past.

Lex Briscuso: 'The Five Devils' being the name of the sports center, and even the lake, is incredibly clever, especially because it ties into the five leads of the film. Why did you settle on this title? And were there ever any other titles that you considered?

蕾雅·梅西斯: I don't know how we thought about it. I later realized that it's five characters, actually. It's another element that reminds us of the figure. I like those kinds of titles, though. When I was looking for them, I thought about [Ingmar Bergman's] "The Seven Seal," for instance. I like titles that are made of numbers and words that somehow make us think about legendary things.

Lex Briscuso: What made you want to open the film with that image of Adèle [as Joanne]? It's incredibly powerful and it sucks you right into the film. It also plays into the theme of the gaze, which I feel is so prevalent in this film. Everyone is just staring at each other down a lot of the time.

蕾雅·梅西斯: It was the first image that I had in mind when I started writing. This young woman turning in front of the fire and yelling. I was [starting from] [starting from] this specific image [through which] I developed the screenplay. And then I read a novel by a French thinker and intellectual that's called "The Sexual Night." It's Pascal Quignard. He talks about the invisible scenes, the scene that all children dream of being able to watch. And they cannot, because it's something that precedes their birth and so they can never see it. But it's a scene that is very violent. It's the symbol of total chaos with fire and massacre and a lot of violence.

Of course, it's the scene that cannot be seen because [it's] the scene of the intercourse that allowed the child to be conceived and the child is not entitled to see it. But it's that kind of primal and primitive image that I thought of. I thought it was a good way of starting the film. It sets us immediately [into] the main theme of the film, about the quest for the mother and what she's hiding. And it allowed us to be with that image throughout the film. [When] we meet Joanne in the swimming pool and we see her eyes and her gaze, we know that we have seen that scene originally. So it accompanies us.

Lex Briscuso: What do you both want the audience to take away from the ending of this film?

蕾雅·梅西斯: What I like the audience to feel is that when they walk out of the theater, [they feel] that they experienced a very strong, even funny moment with strong emotions. But then I would love them [in] a few hours to ponder, to go back on it and have other emotion surfacing and meditations and thoughts for thoughts.

阿黛尔: What I like in this movie, and that's what I love in [Lea's first feature] "Ava," is that it's playful. Like you participated. It's more something growing up inside you after. I would be excited that people might think through stuff. But to be honest, it's the fact that you can take a direction in your life. And sometimes we don't ask ourselves, "But what if [I do] this?" Secondly, it's a movie where I'm going out and I'm asking myself questions, but not just like, "Who is this girl?" The most important [thing for people to take away] is just keep working and asking questions.

从电影一开始我就知道我应该会喜欢它。长镜头下的自然风光，vicky对母亲那种微妙的依恋（不过真的没有恋母情结吗？）。

嗅觉的线索让我莫名想起了以女性凝视为主题的烧女图。《烧女图》里二人充满爱意的对视，使得她们忘却了一切枷锁与燃烧的裙摆，《五恶魔》里乔安娜无数次想跳下深渊拯救她的爱人，亲吻的时候她说我会帮你，在小树林里她说我们一起逃出小镇，大火前她也毅然决然回头看向爱人。

不过嗅觉在此如果仅是“穿越的契机”好像有些可惜。很喜欢一些影评对嗅觉的解读。我觉得嗅觉上的熟悉感似乎更为熟悉，不仅仅是女儿对母亲的依恋，也应当是女主对过往爱恋、甚至对曾经那个生动的自己的怀念。一种身体本能的、潜意识里的冲动。

好喜欢整部电影的氛围。法国北部小镇，雪山下湖泊边，燃烧的篝火，后青春期的诗。虽然还是欧美故事中常见的那种由性、酗酒组成的青春，不过居然和真爱不矛盾。ktv那段狠狠代入了，跑了的音调，难以抑制的爱意，turn around, every now and then i get a little bit lonely.你不知道你走了之后我有多孤独。

整部电影中女主和整座小城一样了无生气，对女儿的爱看上去也是责任大于本真的爱？唯独插叙中的青春期片段、和爱人在厨房甩章鱼、喝醉后拉着前女友唱歌的片段有过发自内心的笑容。

美中不足的是结尾，好莫名其妙的和解。短短九十分手夹杂了太多意义：同性恋、同夫、移民、种族、家庭伦理……不过意外地没有堆砌之嫌。n角恋倒也不招人讨厌。

荒谬当道，爱拯救之。

搬运保存：

Source：//open.spotify.com/playlist/5ve2IBlhCMmfYChztkpwEw?si=aceb870c097343a9

搜了好久，蓦然回首歌单就在Spotify，感谢互联网。

年度最佳music supervisor电影。

（虽然对用繁衍/后代来challenge同性恋有点一言难尽）

网易云：//y.music.163.com/m/playlist?app_version=8.8.20&id=7603524761&userid=118661&dlt=0846&creatorId=118661

1，故事发生地是法国东南小城格勒诺布尔（Grenoble，马赛正上方），位于阿尔卑斯山区，著名滑雪胜地，1968年办过冬奥会。电影开场收音机聊过滑雪游客的事，雪山远景也出现过好几次

百度搜图，侵删

2，片名“五恶魔”，法语直译，不知道具体所指，貌似跟城里发生火灾的那家体育馆或当时体育馆里的体操活动有关。“恶魔”法语 Diable，也有调皮捣蛋的意思，小女孩Vicky是不是穿越五次搅动了尘封已久的往事？反正我没数清楚。叹，不懂法语，只能干着急 3，阿黛尔主演的Joanne是小城里的游泳教练，她有个很仰慕依赖自己的十岁女儿Vicky，丈夫Jimmy是消防员，游泳馆摆着两人的结婚照，但两人感情不温不火，貌似很久很久没有性生活了。Joanne明显不开心，不怎么捯饬自己，最大的爱好是在雪山下冬泳。有一天，丈夫Jimmy接到了妹妹Julia的电话说要过来拜访，Joanne强烈反对无效，Vicky则对姑姑Julia莫名有敌意 2，故事主要是（但不完全是）他们女儿Vicky的视角。Vicky嗅觉敏锐，喜欢收集并调配奇奇怪怪的味道，包括她敬爱的妈妈Joanne的味道（女儿对妈妈的爱很明显，开头在游泳馆眼睛一刻也离不了妈妈，妈妈冬泳时也是贴心尽职的小助手）。这种癖好甚至跨入了奇幻领域，她调制的气味能带她穿越时空回到过去，从而发现了妈妈与姑姑Julia十年前自己还未出生时的秘密情事：她们是高中体操队友，彼此相爱，曾约好圣诞表演后一起私奔马赛；父亲Jimmy当时和另一个体操队员Nadine谈恋爱，圣诞火灾后Nadine毁容，父亲随后娶了妈妈。Vicky本能地敌视姑姑，现在原因看来很简单：如果妈妈当年真跟姑姑跑了，自己根本就不会出生；现在姑姑来家了，妈妈会不会被姑姑抢走？姑姑自杀（未遂）后，Vicky跟妈妈有段对话，女儿问：“我不存在以前，你就爱着我吗？你爱她比爱我更多吗？没有她你还能活吗？你能活吗？”妈妈回答：“我不知道……我觉得不能。” 3，改变主要人物生活轨迹的，就是十年前体育馆圣诞节庆时的火灾，而火灾的直接原因，是Vicky调制姑姑气味后穿越到了现场，姑姑受到惊吓（注意，过去的Julia一直能看到Vicky，以为自己疯了，精神有问题），试图放火驱走幻象，大火失控，姑姑进了监狱，妈妈打消离开小城念头，Nadine毁容，妈妈和爸爸结婚，自己出生，等等 4，Joanne喝醉了，和Julia同台卡拉OK，选的歌是《心之全蚀》（啊啊啊，刚看完《弗莱斯曼有麻烦了》的人心想这也太巧了吧），这下好了，她们的事大家全都知道了。接着，Jimmy去找Nadine，两人啪啪啪旧情复燃，配乐是“It Should Have Been Me”，绝了，点题曲，本该是我，本该是我的，都怪命运的捉弄 5，神奇的是，姑姑Julia也利用气味，进入了侄女Vicky的生活。早前Vicky调制的气味，已经带她穿越到了姑姑小时候。现在，电影最后一个镜头，是一个陌生的黑人小姑娘闯入，旁观Vicky和爸爸相拥。这个小女孩是小时候的Julia吗？逻辑上是，但演员不像，成年Julia眉间尺很宽。这一幕我倾向于没有深意，只是想制造悬疑。因为功能上看完全没必要，最后几方都和解了嘛，爸爸找回了Nadine，妈妈找回了Julia，女儿也并没有因此失去妈妈的爱，每个人都有光明的未来 6，除了神插曲，整个片子配乐也很棒，悬疑以外，还有那种荒凉冷寂、心无着落的空虚感 7，总结一下，抛开奇幻因素，电影叙事手法就是让女儿去发掘父母的情感史，特别是借女儿的视角来讲妈妈的情事，女儿嫉妒很正常，是求生本能，此外，所谓“本该是我”，指Vicky拥有妈妈的人生，指Jimmy和nadine相互拥有，还指Joanne和Julia相互拥有，这个“本”字，是错过、遗憾、失落、怅惘，人生没有你就是不同，永远的痛，Joanne和Julia爱得很深，十年都没有释怀，一个结了婚不开心，一个忍不住来探望，竟至于灰心自杀，啊，本该是我，本该是我的

说实话看完挺喜欢的，但是看不懂的地方也确实看不懂…

为什么叫五恶魔？哪里有恶魔👿？

瓶子哪里来的？Julia不知道瓶子的存在吗？知道的话不知道它丢了吗？Julia提到什么纳米什么技术，瓶子是她现在工作的产品？那她不知道作用吗？

妈妈是怎么把Jimmy抢走的？Jimmy不是一直喜欢毁容姐吗？毁容以后也喜欢，还doi了呢…如果是因为Julia放火才结的婚，那不更应该娶毁容姐吗？？？

结尾的小女孩是谁？我倾向于闻到瓶子的当下发生穿越，所以应该是从未来穿越回来的，那么只能是Vicky再大一些or谁的下一代

还有好些设定太巧合了，铺垫的太刻意了，没有必要

电影整体节奏和设定还蛮喜欢的