比阿莫多瓦少了太多東西

很阿莫多瓦的開頭，標準阿莫多瓦式的變性人物，但畢竟沒有阿莫多瓦跌宕震撼的力量。

故事可以說是毫無故事可言，人物便是故事本身。但人物不演出，要我的想像力參與後期創作。

三個人在一起，分不開，性和愛，乃至共同接客。變性人是皮埃爾，也是史黛芬尼。在酒吧里認識了俄羅斯移民。同樣，阿拉伯男妓和他們兩個都相處甚好。沒有史黛芬尼的時候，他們像一對兄弟或同學那樣，玩耍拳擊，語言不通。

他們這次相聚，是在史黛芬尼的老家。她的母親快死了。母親很平靜地接受兒子（女兒）的這兩個伴侶。平靜的衰老，就是這部發故事的原貌和整體。

母親在睡夢中死去。三人整理房間，史黛芬尼撕碎所有舊照片，藏在鐵盒子裡的、貼在破裂牆紙上的。

接著，三人重返巴黎。在火車上依偎而睡。他們一動不動，陽光在外面奔跑，漸漸追上他們的無動於衷，他們便顯得很柔和地隱沒在陽光中了。

我和朋友一起看的。看得有人退場。這種憋屈的、莫名其妙的、下意識地需要你探討對方性心理的電影，恐怕真是讓人失望的。有一些直接的性器官描寫，我覺得還算不上驚世駭俗，只是很普通的一些鏡頭而已，至少，史黛芬尼是被基本上保護起來的。

對我而言，撞擊點沒有徘徊地停留在所謂孤獨的感受上。3P又如何，不過是大家疊加孤獨，既沒有需要滔滔不絕闡釋的個人想法、也沒有可以說得出來的苦悶，一切都是那麼平淡無奇，只是像陽光一樣慢慢走、慢慢遇到陰雲和風沙而無所留戀無所阻礙的繼續走，走得幾乎絕望。

童年。母親。家鄉。愛情。這些是孤獨的落腳點。美其名曰「鄉愁」，卻只是無處可依。

所以，不要問我這個電影好看不好看。也許你可以問我些別的。


查資料。發現三點：

1，2005年和2004年都有電影叫做Wild Side。而之前卻沒有一部。另一部Wild Side是有中國人出演的。這部WIld Side的名字由來，經導演說，是因為Lou Reed。

http://www.wellspring.com/movies/text.html?page=interviews&movie_id=48

2，這部Wild Side有一個官方網站。

3，在IMDB，有一個不錯的評價：給這個片子打了十分。要不是在IMDB這個人頭不熟的地方，而是在諸如噹噹、99這樣的網站裡，我一定會認為是電影導演或演員自己寫上去的。嘿嘿。

Muted & Marginal - a perfect and beautiful film, 23 March 2005

Author: Rod Evan from Amsterdam, Netherlands


Unfinished script? Badly lit? Underdeveloped characters? Designed to shock the bourgeoisie? About half the reviewers here seem to have missed the point with this film - but perhaps it's just a film you'll either love or hate. There are of course many people who simply are not comfortable watching anything which in any way portrays or explores homosexuality.

Not that you would class this as a gay film - but it is definitely one of the best queer films I have seen. Dealing with three characters on the margins of society, it has a no holds barred approach to its subject matter, that is neither glamorous nor judgmental. In contrast to most representations of homo/transexuality this was refreshing.

The sexuality/gender of the central character, Stephanie, was apparent from the first frames of the film. The triangular relationship between her and the two men is one built on sincere and simple respect and equality. There is no question in the film of her having to choose between the two. All three are equally compatible with each other and do not have the usual conventional jealousies and arguments.

The three characters' past and present lives are beautifully portrayed in a sort of collage. This demands some work from the audience to put the pieces together. And why not? There is nothing obscure or pretentious here. Just an honest look at what brought these three people together.

Visually the film ranks highly and is up there with Antonioni and Bresson. The concentration on the urban and rural landscapes and the details of the characters' physical actions say more about character development than any dialogue could do.

A milestone in new queer cinema. This film should receive a far wider distribution. But judging from others' comments perhaps the public are just not yet ready to understand the humility, beauty and sacrifice of in these characters' lives. A great film 10/10
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