一个中年女人的单身生活Hunting for love的故事
Gloria中年的生活除了日常工作就是每天流连于同一个酒吧和不同的男人跳舞,回到家面对的是无尽的沉默和空虚。和女儿儿子的关系限于日常探望,孙子不让自己抱,她去女儿的瑜伽班上课才发现女儿交了男朋友。在一天的hunting中她认识到一个gentleman,gentleman带她去摩天大厦的顶楼吃饭,说赞美的情话,继而肌肤之亲,在午后对她读情诗让她落泪。
在她激动地以为the one就是他时,她渐渐发现对方还在被前妻纠缠,屡次破坏约会,甚至在她带他见亲人时,他被一通电话call到就消失了。
她又开始用大麻麻醉自己。在被gentleman各种祈求挽回后,她接受了去开海景房的邀请,她开心地洗净净时又听到外面的电话,前妻摔断腿了。gentleman不断道歉的同时更像是自说自话,“我要和前妻断绝关系,要断绝关系,要坚定…..” 她走到门口又折返,直接推到gentleman开始sex,她敞开衣服,皮肤松弛且有赘肉,gentleman被脱光时露出了瘦小几乎不可见的生殖器,两人生猛的来了一分钟的sex。
酒店晚餐时,她带着十分想改变他的激动心情push他说,忘掉过去,你要有自己的生活!gentleman带着承诺的眼神说,是的。她说,我们去古巴吧!去古巴来一场10天的旅行,去那里尽情跳舞。他听到此,盯了她一会,说,不好意思我去一下洗手间。然后就再也没有回来。
她买醉、和陌生人kiss跳舞,她的神情疲态尽显,无助难过,只能让酒精和新的男人麻醉自己。第二天发现自己身无分文的躺在沙滩上,钱包手机全丢。
故事的高潮在生活的真相尽显之后,她可以继续颓废,也可以继续重复追求零星刺激的空虚中年生活。她无疑选择了后者,她开始接纳总是跑到家里长的丑的猫,走形的身体全裸躺在床上,与一只没有毛的猫一起。
她收拾好懦弱的男人送给她的玩具枪,在他前妻家门口等,从容地走上去给了他几枪,男人捂着自己肚子痛苦缓慢的倒下。
他也只是个可怜的人。身上有责任有重担有枷锁,使他在面对真感情时开始懦弱,怕失去之前的拥有。Gloria是自由的是无根的,她承担的则是单打独斗的无爱的孤独。
她打完男人之后停下车笑了,她完成了漂亮的回击。电影结尾她一次摘掉烦人的眼镜(她一辈子要依赖眼药水和眼镜才能看清),自信地又迈入了舞池,尽情的跟着Gloria挥舞、摇摆不再灵动的身体。
故事发生在智利,但看电影时我一直以为发生在西班牙,弄错了背景好像并无大碍。背景电视机和街道上不断的街头示威,危机在哪里都是一直都在的,她处在这样的危机中不能自拔,无法改变。电影不是在讲激励性的女权主义,只是一个成熟、tough的女人对抗生活的个人故事。
Rightly tapping into the cliché of middle-age solitude, GLORIA, the up-and-coming Chilean filmmaker Sebastián Lelio’s Golden Bear contender (rightfully won its leading actress Paulina García a coveted BEST ACTRSS gong), is a brutally honest take on our titular heroine’s stagnated status quo and her inexorable endeavor to break it.
A petit bourgeois divorcée, Gloria (García) is in her 50s and has stayed single over a decade, she has a stable office job, the relations with her grown-up children have become distant inevitably through time and she frequents a club tailoring maturer clientele to seek some new spark in her inert life, that’s where she meets Rodolfo (Hernández), a retired navy officer and a blow-in of the divorcé club. Physically, their sparkle is incandescent, by way of a daringly hardcore directness in their one-night-stand (and many intimate occasions would follow), Lelio brings home to audience that as unprepossessing as their act seems by the standard of common aesthetics, that is what sex looks like at that age: flabby flesh, furrowed face, unwieldy posture, yet, nothing can possibly take away the carnal sensation the process engenders, and granted not everyone is bestowed with that privilege in their autumn years.
That said, there is always a catch in the passion-kindled romance when it passes the initial stage of purely physical attraction towards something more personal and complicated, something is detrimental to the budding relationship. In this case and according to Rodolfo, it is his over-dependent adult daughters, but in the event, after being wantonly stiffed by him not once but twice (the first is a misstep to bring him to her son’s birthday party where her ex-husband is also present, and the second is a much more invidious hammer blow), Gloria realizes that this umbilical cord is bilateral, or even worse, insinuated by the last appearance of Rodolfo, decked and peppered by Gloria’s vengeful paintball pellets, maybe his side of the story is a total whopper, that is what one calls a superbly orchestrated open-ending eliciting a viewer's afterthought.
Through and through, Lelio levels his camera to the indefatigable Gloria, accentuates the emotional spectrum through a much trodden path, and crystallizes the cathartic moments with sublimely figurative strokes (let it be the dancing skeleton metaphor, a thinly-veiled political snapshot in the background or that precious white peacock knockout), often with optimal diegetic music choices (sometimes played lyrically through real-life musician Hugo Moraga),culminated by Umberto Tozzi’s erstwhile hit GLORIA, trenchantly hits the bull’s eye with its rousing tempo and significative pertinence, that is the damn theme song and a tribute to our heroine and gazillions of women like her in the real world, sidelined and often slighted by this ageist and sexist society, but never subjugates themselves to victimology, instead, they are absolutely faithful to what their hearts desire and never flinch back by the sporadic impediments.
Meanwhile, it is also a hard-won victory for the central players, Paulina García deserves all the acclaim she garners for a bold but minutely precise, unmannered yet immensely visceral tour-de-force, which sets a high bar for its slated USA rehash, directed by Lelio himself and starring Julianne Moore. And last but not the least, Sergio Hernández, impresses viewers with equal dedication and beguiles us with his seemingly benevolent and passionate efforts, which speaks volumes about a callous male ego, there is an abuser underneath a commoner’s camouflage, soundly punches above its weight in this emphatic feminist chord-striker.
referential point: Kleber Mendonça Filho’s AQUARIUS (2016, 8.3/10)
这样的58岁不是挺好的么 孔雀开屏那点儿略惊艳
一个58岁老女人晚节不保到处约炮被人抛弃后举枪解恨最后看到白孔雀变得迷人的故事。结尾落至欢乐的歌声很不错,更衬悲凉与苦楚。
孔雀开屏,乞求赞美;骷髅舞蹈,渴望关注。邻居的猫弓成一团希冀爱抚,一个女人在旋转木马上等待爱的光顾。松弛的肌肉和下坠的乳在时光长河里溺水求生,拒绝衰老。她的彩弹枪射出了不告而别的愤怒,却反弹回舞池中独舞的孤独。前夫举着旧合照言之凿凿,我们曾经相爱。在尴尬的空气里,她是无助的小丑。
Paulina García 大好
喧嚣的舞厅与孤独。孤独的开始,孤独的结束。女主角很厉害,给片子增色不少
这个女人也太潇洒了。
三星半。不甘寂寞的女人,向着百无聊赖心怀不轨的生活开炮吧。最后好像什么都没发生,这就是身边的事,不管愿不愿意,它都在每天上演着。不如和葛洛莉亚共舞。
老年都市女青年的爱情,来的赤裸而直接,很少在电影中看到如此直白的中年人性爱场面和衰老的裸体,但那种真诚与坦荡是任何诚实的人都会有的情感处理方式,真实的让人不忍直视,甚至会让很多人中枪。它让人看到了老年人的孤独,和新时代女性(或者说有点女权)眼中的爱情观。★★★★
“每个人都有一首属于自己的主题曲,在影片那个充满希望的结尾中,葛洛莉亚唱着属于她自己的歌,又一次穿梭在舞池中,不过这次她更加自信,也更加美丽了,葛洛莉亚用她的笑容战胜了孤独,战胜了生活的重重压力,从现在开始,她要开始过真正属于她自己的生活了。”
发起了一场生活革命的女人最后遍体鳞伤回到了原来的生活,但她却成长了,懂得为自己开屏并翩翩起舞。这就像迈克李《又一年》走出的角色的故事,幽默又不失诗意,情感表达精准,人物刻画绝对成功,智利的政治社会背景也是亮点,女权再次被提及。女主有竞争影后的实力。
智利中老年人的月抛史。意思不大。
人约黄昏后。。
#01 拉美电影近两年佳作频出。影片聚焦一个离异的、喜欢参加单身派对的58岁都市女人。在这里,爱情不再是躁动、粘腻或是清新,只是一种互相自足的相互依偎。天长地久好像是太微薄的事情。温润的格调,女主角不愧是柏林银熊的得主,不美但非常耐看。
the white peacock at the end, gloria dancing tentatively but triumphantly alone, music, love, independence
老年人的情感电影。女主时时刻刻去面对自己的黑暗和秘密的过去。
随便一个西班牙人名就可以做电影名字。而且很有故事的感觉。典型的慢节奏。细节足。不错。
孔雀独自在暗处绽放,葛洛莉亚试着一个人跳舞,独立虽好,可对着人发骚才真妙,人终生都无法战胜孤独,心灵破碎的时候对着邻居讨厌的猫也能萌生出温情,陌生男子的嘴唇也有温度。“你总是这么开心吗?”“不是。”
8.4。疼进我心里了。人性的纠结,爱与不爱的软弱,丑陋的谎言与卑劣的欲望。时而动人时而苍凉时而暖意的歌曲。开篇是唱歌,结尾也是唱歌,心境却大有不同,看到最后我骤然流泪了。希望我到了那个年龄,不会这样孤独不已,寂寞地寻求着艳遇,舍不得与子女分离,我希望与相爱的人厮守,拥有自己的天空。
初打量平淡,细琢磨惊艳。究竟有多大的勇气,敢拍老年女性的爱情?像聂鲁达的诗歌,时刻灼烧着神经。钦佩本片的坦诚,不仅有“从诗词歌赋谈到人生哲学”,还有裸露的身躯,下垂的乳房和衰老的面孔。那些豺狼虎豹般的情欲呀,怕是害得年轻人也脸红。新晋柏林影后的独角戏收放自如,过瘾。
竟然真的是这首歌………………喜欢!