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标题: [原创] 【壹周影讯：第82期】第66届戛纳电影节酷儿棕榈单元首轮预测 [打印本页]

作者: 热内 时间: 2013-5-4 15:49 标题: 【壹周影讯：第82期】第66届戛纳电影节酷儿棕榈单元首轮预测

本帖最后由热内于 2013-5-11 16:00 编辑

【一周亮点】

第66届戛纳国际电影节本周公布了官方选片名单，名导大作荟萃，更有斯皮尔伯格坐镇评委会主席，难怪法新社认为今年是“荣耀和艺术岢求的优美交织，并且不乏惊喜”的一届。

今年也是戛纳“酷儿棕榈”诞生第四年。2010年戛纳组委会正式开设酷儿棕榈单元，授予一部“兼具艺术价值和对男女同性恋、双性恋以及变性题材给予相当关注”的长片“酷儿棕榈”的荣誉。2011年（第二届）开始发布候选名单，入选电影分为L（女同）、G（男同）、B（双性）、T（变性）和Q（泛酷儿）五大类，其中Q是指本身并非同影、但同志也许会感兴趣的片。2012年（第三届）首次扩大到短片，开设短片“酷儿棕榈”。今年是第四届，不知又会有什么新的变革呢？

尽管本届酷儿棕榈的官方手册还未公布、我们手头的信息也相当有限，但仍不妨碍我们对首轮入选酷儿棕榈的电影做大胆预测。以下是我们最有把握的电影：

1. 烛台背后 | Behind the Candelabra （G 男同题材 100%）

导演：史蒂文·索德伯格（美国）主竞赛单元

大概很少有人想到，这部史蒂文·索德伯格的收山之作会入围主竞赛单元。本刊曾经报道过，由于好莱坞大片商对这部“基到无法挽救的基片”噤若寒蝉，没有一家敢投资，索德伯格万般无奈惟有求助HBO的支持。而作为有线台出品的电视电影，《烛台背后》将无法参与奥斯卡等美国主要电影奖项的角逐，先天就已经被边缘化，因此很多人预测《烛台背后》在戛纳也只是作为非竞赛片展映。昨天新闻发布会上戛纳总监迪耶里·弗雷茂透露内情：因为这部片实在太好看了！组委会在看过后极力劝说诚邀，最终说服原本坚持亮相非竞赛单元的索德伯格。有趣的是，1989年索德伯格拍第一部电影《性、谎言和录像带》就获得了金棕榈，如今最后一部《烛台背后》再次入围金棕榈，真是24年如一梦啊...

[flash]http://www.tudou.com/v/QTyBfvnQvzA/&resourceId=0_04_02_99&autoPlay=true/v.swf[/flash]

我们独家制作了官方预告中文版。由于该片5月26日就会在HBO首播，我们几乎可以和戛纳评委们同时欣赏到本片，这真是无比幸福的赏心乐事！

2. 花容月貌 | Jeune et jolie （L 女同题材 90%）

导演：弗朗索瓦·欧容（法国）主竞赛单元

作为法国最具文艺气息、去年刚以《登堂入室》征服无数中国影迷的鬼才导演，欧容几乎每部作品都在求变。希区柯克、法斯宾德、伯格曼、阿莫多瓦...他的电影里可以看到众多大师的影子，但个人的风格却从未泯灭。而值得一提的是所有欧容作品都必然会有男同、女同、双性恋角色，或明显的同性暗示。这似乎是欧容在用性向和世人开玩笑、提示我们：嘿，这些人存在着呢，就生活在我们身边，看到没有？

关于这部《花容月貌》目前并没有太多信息。我们只知道它是讲述一个花季少女的青春性萌动，由四个季节和四首歌组成。鉴于欧容的“优良传统”，我们几乎可以断定电影中会有女性的同性内容。饰演女主角的玛芮恩·薇琪（Marine Vacth）是YSL和CHLOE御用的90后模特，在法国非常有名。另外据八卦消息，看过《花容月貌》初剪的法国媒体都对该片爱不释手，称其为欧容从影以来“最精致”的作品。

3. 湖畔的陌生人 | L'inconnu du lac （G 男同题材 100%）

导演：阿兰·吉罗迪（法国）一种关注单元

作为法国后进导演，阿兰·吉罗迪曾经获得让·维果奖，他的《勇者不眠》和《逃亡之王》两度入围戛纳电影节导演双周单元。《湖畔的陌生人》讲述中年男子弗兰克在幽静的湖畔度假，他的下午时光被两个人占据割裂：亨利，他最好的朋友，有着最纯洁的友谊；迈克尔，英俊的陌生人，有着最性感的吸引力。直到迈克尔将他的前男友溺毙，而弗兰克目睹了整个过程...

——————————————————————————————
除了以上三部，其他电影由于信息量太少我们都没有太多把握。相对可能性较大的有弗兰兰导演的新片《我弥留之际》（As I Lay Dying）（Q 酷儿题材 60%），该片同样入围一种关注单元。不过大家不要打鸡血，兰兰这次没有拍gay片，而是改编了名作家福克纳的30年代小说，讲述美国南方一位农民为遵守对妻子的承诺，率全家将妻子遗体运回家乡安葬的苦难历程。

至于深受我们喜爱的加拿大导演泽维尔·多兰，可能确实被去年《双面劳伦斯》未能入围主竞赛单元给伤到了。这位年轻气盛的少年天才在去年11月就拍完他的第四部、据说也是最有爆发力的新作《汤姆的农场旅行》（Tom à la Ferme），然而该片并没有出现在今年戛纳的片单上。坊间传闻多兰因为耿耿于怀去年被戛纳组委会扔到一种关注单元，索性决定今年放弃一手提拔他的戛纳，改投威尼斯怀抱。这倒不失为一个明智之举——好歹《农场旅行》入围威尼斯主竞赛单元后还能角逐金狮、冲击银狮什么的，比在戛纳非竞赛单元陪跑、给新人做嫁衣裳要强得多。只是苦了粉丝，又要多等4个月（威尼斯电影节是在9月）...

我们会像去年一样制作酷儿棕榈中文手册。敬请期待。

【道听途说】

法国乐队Indochine今年2月推出了第14张专辑。由魁北克天才导演哈维尔·多兰（Xavier Dolan）为主打单曲“学院男孩”（College Boy）拍摄的MV昨天在发布后即引发巨大争议，不到几小时该MV就被法国和加拿大列入了限制播放内容，Youtube频道也迅速做出了移除处理。

多兰的这支MV采取了黑白剧情片的形式，讲述了发生在天主教学校中的一桩可怕霸凌事件。主演安托万·波尼安（Antone Polion）是蒙特利尔的新生代演员，他在MV中饰演一个被同侪欺压的文静男孩（导演没有交代是因为性向还是什么）。一开始他只是被丢纸团，然而很快恶行开始升级：他的储物柜被破坏、队友用球砸他的脸、他被追打和淋尿。最后霸凌走向彻底的失控：男孩们将他钉在十字架上，将十字架树立起来，然后对着他开枪。更加震撼的是赶来维持秩序的警察在听过领头男孩的解释后，犹豫了片刻，也对他举起了枪口…

与此同时，围观的男孩女孩都被黑布蒙上了眼睛。有的无声流泪，有的则用智能手机在拍录全过程。

[flash]http://player.youku.com/player.php/sid/XNTUxMzc5Njgw/v.swf[/flash]

“不舒服”实在不足以形容这个MV带来的冲击。法国前教育部长 Luc Chatel 说视频呈现了“难以容忍的暴力”，音乐频道应该“毫无余地”的禁播这些内容。高阶音响画面协会（CSA）成员、欧洲第1台主席Francoise Laborde认为这样的暴力容易传递错误的价值观念。“暴力、死亡、折磨，这些都不是美学。”法国的音乐频道已禁止该MV在白天日间时分播放，而加拿大则直接拒绝引进。

多兰当然对此感到很火大：“我觉得很莫名。这些音乐频道上你能经常看到种族主义、暴力的和羞辱女性的内容。为什么偏偏针对这个视频？真的很荒谬。”他特别提到结尾是受美国校园枪击案的刺激：“它难道比每天出现在我们大银幕上的电影还暴力？看看美国乏力的控枪现实吧。问题不该是我有没有拍得过分，而应该是有没有办法制止青少年做出这样过分的行为！”Indocine的主唱尼古拉斯·瑟奇斯（Nicolas Sirkis）也认为“暴力内容只是引起观众关注。它恰恰说明这种现象的存在和严重程度。我不要求他们解禁这支MV，我只是遗憾很多青少年的处境可能比MV里面的还糟。”根据法国教育部抽样调查，每20个学生中就有1个在学校收到严重的霸凌，青少年的自杀率正在创下新高。

观众对MV的反应以正面评价居多。“没错它会让你反胃个6分钟；但请想想，受到霸凌的学生每年有300天都在过这样的生活！”而撇开内容不论，多兰在MV中完美展现了属于自己的独特美学：慢镜推移的画面和飘飞的裙摆，有着天使面孔的制服男孩，中产阶级的家庭苦闷，特写的闹钟、黑板和篮框，以及模仿“基督受难”的震撼悬空十字架...这一切全部是使用传统的35mm黑白胶片拍摄的，从而让反校园霸凌主题有了一种更凝稠的质感。

【第80-81期】【第78-79期】【第77期】【第76期】【第74-75期】【第72-73期】【第71期】【第69-70期】【第67-68期】【第66期】【第64-65期】【第62-63期】【第61期】【第59-60期】【第58期】[【第56-57期】【第55期】【第54期】【第52-53期】【第51期】【第50期】【第48-49期】【第46-47期】【第45期】【第44期】【第43期】【第42期】【第41期】【第39-40期】【第37-38期】【第35-36期】【第33-34期】【第32期】【第31期】【第30期】【第29期】【第28期】【第27期】【第26期】【第25期】【第24期】【第23期】【第22期】【第21期】【第20期】【第18-19期】【第17期】【第16期】【第15期】【第14期】【第13期】【第12期】【第11期】【第10期】【第9期】【第8期】【第7期】【第6期】【第5期】【第4期】【第3期】【第2期】【第1期】

作者: 热内 时间: 2013-5-4 15:51

杜兰真是好帅好美啊，是攻还是受呢？

作者: qw8366559 时间: 2013-5-4 16:47

前排...

作者: PM10-AM12 时间: 2013-5-4 18:20

法国乐队Indochine今年2月推出了第14张专辑。由魁北克天才导演哈维尔·多兰（Xavier Dolan）为主打单 ...
热内发表于 2013-5-4 15:49

商业作品吸引眼球，错误的价值引导。禁播是非常正确的决定。

作者: 班通依古特 时间: 2013-5-4 18:52

能搞到资源么？

作者: yanzhuo1217 时间: 2013-5-4 19:34

哈哈我觉得有意思

作者: 樱夏枫雪 时间: 2013-5-4 22:46

好奇你们是怎么拿到的~阿乌`

作者: 花子 时间: 2013-5-5 05:29

谢谢发布

，，，，，，，

作者: 语新 时间: 2013-5-5 09:26

看到标题就知道是热内的贴啊,要被我收藏了啊,谢谢分享.

作者: gayroad 时间: 2013-5-5 15:35

這個世道。。。

作者: 翼I樱9 时间: 2013-5-5 15:38

还没看过视频，看简介觉得还不错。一直都觉得学校里面总是免不了欺凌，这只是把它搬到了台面，以一种艺术来体现，觉得能接受。

作者: 热内 时间: 2013-5-6 09:59

道格拉斯是有六十多岁了吧,在烛台背后里面,那脸真是需要多强大的PS技术与技巧才能将他的老脸抹得那么光亮啊

作者: yanzhuo1217 时间: 2013-5-7 01:42

好吧我还是期待的说

作者: jon945 时间: 2013-5-7 18:14

这个mv到最后确实有点吓到我了，不难想象对于那些道貌岸然的主流媒体太有冲击力了

作者: blue.heart 时间: 2013-5-12 12:21

Behind the Candelabra

Steven Soderbergh knows who’s significantly responsible for
the major success of his male-stripper romp Magic Mike: gay
men eager to ogle the barely-covered bits of Channing Tatum
and his hunky posse. The Oscar-winning director’s upcoming
feature will obviously court the same audience – and not just
because Matt Damon lets it all hang out, too.
Behind the Candelabra is so gay that major Hollywood studios would
have nothing to do with the Liberace film. Premiering May 26 on HBO, the
revealing biopic stars Michael Douglas as the shiny showman who died
of AIDS complications at age 67 and Damon as his much younger beau,
Scott Thorson.
In our interview, Soderbergh spoke in depth about their real-life
relationship, the “flamboyancy scale” used to guide the actors’ gayness
onset, diversity in film and why Damon wanted to flaunt the junk in his
trunk.
GC: Steven, you’ve made the gayest movie of your career.
SS: That was my intent.
GC: Was it?
SS: In a way. It was an opportunity to make use of all the hours that I’ve
spent watching melodramas like Sunset Boulevard – anything connected
to a certain aesthetic that we associate with camp or just glamour.
I had spoken to Michael about it conceptually when we were doing
Traffic, but when I started researching Liberace, I was really having
trouble figuring out what the angle should be. I didn’t want it to be a
traditional biopic.
It was a friend of mine in New York who made me aware of Thorson’s
book (Behind the Candelabra: My Life with Liberace). Once I read that,
it solved all my problems. That was six years ago. So we’re sort of
experiencing everything through his eyes. He’s Alice going down the rabbit
hole.
GC: What did you know about Liberace before reading Thorson’s book?
SS: I’m old enough to have seen him on TV when he was still performing.
I was, however, young enough to not really be able to articulate what was
distinctive about him. (Laughs) But I remember my parents always made
a point of turning on that channel if they knew he was going to be on
somebody’s show or if he had a special. I had this vague sense of him
being a very flamboyant entertainer.
In 2000, as I started to learn more about him and gather material, what
was great was discovering that he was an amazing technical musician,
an incredible keyboardist. I found it fascinating that somebody with that
sort of skill set was very happy to hide it behind a real genuine desire to
put on a very popular and entertaining show. He wouldn’t have been as
interesting to me if it turned out that he was a so-so keyboardist.
GC: How did Michael pull off the piano-playing parts?
SS: Oh, lots of tricks.
GC: Then you fooled me, because at one point he’s playing 16 beats to
the bar for “Boogie Woogie” and you can clearly see Michael’s hands on
the piano.
SS: In my mind, that was a very important scene. Because if we don’t
sell that, then we have a problem. There was a lot of effort expended on
that particular scene. Michael had to spend a lot of time making sure
that he was doing the right thing so that the effects would work properly.
He couldn’t just sit there. He had video of the pieces and he had to make
sure his hands were very close to being perfectly placed so that we could make it work.
GC: Did you discuss with Michael how flamboyant he could go with
Liberace?
SS: Sometimes I’d use a number. I’d go, “Oh, I think he should be at
a 7 here.”
GC: A 7 on the flamboyancy scale?
SS: Yeah. But more often than not, he and Matt would both tell you
that once you put on the outfit and the hair and everything, you’re kind
of there. I don’t remember having to really talk about how gay I wanted
them to be. (Michael) would just show up in that outfit with that hair and
it was happening.
GC: Was there a scene where you told them to take it to a 10?
SS: The first meeting where Lee (the name close friends called Liberace)
first meets Scott backstage, I would’ve said to Michael, “OK, this is about
as far as I want you to go.” Take it as far as you feel comfortable.
GC: The sexual tension was so palpable my screen was sweating.
SS: (Laughs) One of the things I liked about it is this sort of Sunset
Boulevard dynamic in terms of the age difference and the fact that Scott
shows up and Lee’s giving him elevator eyes.
GC: Matt had said that it’s a challenge creating chemistry with someone
you wouldn’t normally be attracted to. As the director, was it a challenge
to make this relationship seem real?
SS: The key, which they understood intuitively, was: The chemistry
was going to come from the comfort level, and the more comfortable they
felt with each other and the more that it seemed, “Oh, this is how people
act when there is not a camera around,” that’s what would sell it. Just
being totally inside of it and never stepping out of it and looking back at
it. You have to just jump into the hot tub, and that’s what I think really
sells it when I see the movie. They seem so comfortable with each other.
GC: And only one take for the sex scene where Matt is on top of Michael
– really?
SS: (Laughs) I said, “OK, Mike, you’ve gotta be able to reach the amyl
nitrates, so you should be here. Matt, you’re gonna be on top of him here.
I’m gonna drop the camera down here.” We did a take, there was a long
pause and I was just like, “I don’t have any notes. That’s that.”
GC: Not that I was counting, but there were three Matt Damon ass
shots. When is an ass shot necessary and when is it gratuitous?
SS: In this case, it would’ve been more awkward and distracting if you
somehow didn’t show it. But none of that was planned. Matt’s in his robe
and he gets into bed, and in another scene he’s getting out of the hot tub.
It’s all stuff that was motivated; I guess that’s really what it comes down
to.
“Gratuitous” means they’re doing something they wouldn’t normally
do to create an ass shot, and that’s not how we were thinking. Though I
certainly had it in mind when Matt came to the set and said, “You’re not
gonna believe the Brazilian tan line I got from the spray guy. The world
has to see this.” (Laughs)
GC: Studios turned down the film because they said it was “too gay.”
What exactly is “too gay”?
SS: They weren’t convinced that anybody who’s not gay is going to
want to see it. That was really their attitude. It’s not like, “We don’t like
gay people.” They had concerns about how to sell it. And when you’re just
looking at it on paper, and then when you see what Michael and Matt did,
I get why they couldn’t see it. I was just frustrated that they didn’t believe
that we could see it.
GC: What do you think it says about Hollywood and society when a
movie about two gay men won’t get picked up by a major studio but a
movie that exploits violence does?
SS: That’s more about the culture at large than it is about the studios.
They don’t give a shit. If movies like this were making a lot of money,
that’s all they’d be making. The reason you don’t see more movies made
with non-white protagonists as leads is because, in our culture, non-white
audiences go in significant numbers to see movies with white protagonists,
but white audiences do not return the favor. It’s not reciprocal, and that’s
the only reason that movies lack so much diversity.
GC: Did you know going in that a movie about Liberace would be a
tough sell?
SS: Yeah, I knew it would be tough, but I didn’t think it would be
impossible. If it wasn’t for HBO, I don’t think we would’ve been able to
get it made.
GC: How did you perceive their relationship?
SS: I took the relationship at face value, and I believed that it was
a real relationship and that they did love each other. It’s a very weird
environment in which to maintain any relationship, but I felt that it was a sincere relationship and that they were both broken but in different ways,
and so there was a kindred feeling somehow.
GC: And that last scene really brings authenticity to the relationship.
SS: When I read the book, it convinced me that this was worth doing,
because it really surprised me. The way the movie lands emotionally is
really unexpected – and in the book, I just found that scene incredibly
moving and sad.
GC: Do you see this film and Liberace’s life as a cautionary tale at all?
SS: No. I guess when I look at it, there’s just more of a frustration that
there was this added pressure because of the time period – the pressure
of hiding the relationship and then, of course, the threat of mortality that
was circulating amongst the gay community during that period. I mean, I
lived for nine months with my sister in San Francisco during the summer
of ’80 through the spring of ’81 on Market Street. If I was gay, I’d be dead.
That was ground zero.
GC: What was that experience like for you?
SS: It was interesting to be 17 and walk down the street and have
somebody look at me in the way that I’d be looking at girls. (Laughs) That
was the first time being exposed to that, but it wasn’t a problem. The
friends I did have that were gay and sexually active were really, really
paranoid and being super safe. They were scared.
It’s a classic case of everybody realizing everything too late. I always
wish we could think 50 years in the future when we look at what’s going
on right now in terms of equal rights. I’m just sitting here going, “50 years
from now, we’re going to be wondering why we were even arguing about
this.” Why can’t we just pretend that it’s 50 years later and just end it
now?
GC: On behalf of the gay community, Iwould like to thank you for
Magic Mike.SS: (Laughs) It’s so funny, because that was such a huge part of the
success of the film – the attention it was given from that community from
the minute it was announced. It was such a chatter magnet and, honestly,
that was part of the reason why Warner Bros. came in while we were
shooting and picked the movie up. This is not something they typically do.
This was an independently financed movie that they came and bought
while it was shooting. I can’t even tell you the last time they did that, and
that was because they had a feeling that this thing was going to have some
cultural traction because of all the Internet attention it was getting.
GC: With Magic Mike 2, have you thought about where you want the
story to go?
SS: We actually just had a meeting about it the other day. It’s getting
pretty far along. They’ve got a good idea. There were some stories and
events that Channing lived through that we just couldn’t fit in the first
one. One of them is a really hilarious and very cinematic idea that we
reluctantly didn’t put in the first film, because it was such a big idea you
could build a whole film out of it – but we didn’t want to build that film out
of it. It’s perfect for this, though.
GC: How involved will you be?
SS: I want to help. I have some proprietary feelings about it, obviously.
I want to make sure it gets done and done well, so we meet every couple
of weeks to talk about where it’s going. But it’s gonna be good. It’s a
good idea. It’s not a retread. And there will be more time spent with the
characters – all of them.
GC: You’re not gonna tell me the idea, are you?
SS: Yeah, I don’t want to share the details.
GC: Is the original cast returning?
SS: Oh yeah!
GC: What did you make of the flack you received for the lesbian-killer
character in Side Effects?
SS: I knew that was coming. I thought, “Look, these kind of things
swing in both directions.” You get people who are so on guard that it’s
hard for them – especially, when they’re looking at a piece of art – to drop
the ideology and look at the macro of it. They’re just reacting with their
amygdala instead of their prefrontal cortex and they’re crying foul and you
go, “No, actually, if you break this down, you only got halfway there before
you started yelling.”
Yeah, there was a bit of a flash mob about it initially. I was trying
to explain that – actually, she’s not a lesbian. She’s just a fucking
opportunist! (Laughs)
GC: Side Effects was supposed to be your last film. What made you put
retirement on hold for Behind the Candelabra?
SS: The movie was supposed to happen earlier and it didn’t. I decided
that, actually, this is great if this were – and I’m not saying it will be – the
last movie I ever made. I would be very happy. I feel like it’s connected in a
lot of ways to the first film I ever made, and it’s also a progression.
GC: Can you talk about the connection between this film and Sex, Lies,
and Videotape?
SS: The connection is that it’s completely relationship driven, and most
of it is about two people in a room ... except the room is now a hot tub.
(Laughs) It’s a progression in the sense that it’s a much more mature piece
of work than my first film – obviously, it ought to be – but I’m able to do
things, having done it for 24 years, that I wasn’t able to do back then.
GC: Are you still retiring?
SS: In terms of movies, it’s going to be a break. I don’t know how
extended. I’m just taking a break from that specific kind of work for a
while to see if I can tear everything down and rebuild it. See if I can come
back different.
===================
Magic Mike 还有2了....

作者: lovemsn_007 时间: 2013-5-25 16:52

法国片，蛮期待的

作者: fanky01 时间: 2013-5-26 11:25

我覺得杜蘭的mv不算暴力畫面也能接受不覺得反感阿
這是一種美學這些人禁播太假了

作者: ljf7838 时间: 2014-10-6 15:12

顶一个

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