看过《爱的甘露》 🌕🌕🌕🌑🌑
不太行 不过还是有妙笔 生活流的气质感觉在《某种女人》里得到了继承 几处独处的切割画面也算得上巧妙 还有就是不管恋人还是母女关系 都非常有意识地采用了反传统的不指向任何结尾的结尾 甚至在母女那段对话中似宣言一样地讲了出来——一起度过的时光就是全部价值 而不需要任何一种意义上的结果 这种表达和生活流的叙述方式还是很搭;但真的太生涩了啊 太生涩了 台词写得也怪差 和角色身份不贴合 而且大段干瘪的兑水台词中间混几句金句 特别有种噎人的感觉 还有就是选角虽说不错但是凯的好几处肢体表演看得尴尬(eg.扭头和转身非常做作(但床戏完成得不错!))
Desert Hearts (1985) [Movie] WikiData IMDb TMDB Douban Min reol Skybridge +3
Desert Hearts
other title:
爱的甘露
/
愛的甘露
…
Made for only $350,000 in 1985 when no one wanted to fund or star in a movie about lesbians, Desert Hearts is widely considered the first full-length lesbian love story, and its success paved the way for the proliferation of lesbian films we enjoy today.
Directed by Donna Deitch and set in 1950's Reno, Nevada, Desert Hearts tells the story of a 35-year-old uptight female professor Vivian (Helen Shaver) who comes to town to file for divorce and ends up falling in love with a free-spirited 25-year-old casino worker Cay (Patricia Charbonneau).
Although Vivian left her husband because she had "drowned in still waters," she is not quite prepared for the tidal wave-effect Cay has on her life. As Vivian herself admits, her life is all about "order," and her image of herself as a scholar and a professional, upstanding woman does not include a relationship with a woman. Cay, meanwhile, is living at home with her stepmother, Frances (Audra Lindley) while she waits to meet someone who "counts"--and she almost immediately recognizes that Vivian is that someone.
Both women struggle with conflicting desires and a sense of obligation to others, and are ultimately drawn together not just because of their attraction to each other, but because each woman offers the other something she has been unable to find on her own.
Directed by Donna Deitch and set in 1950's Reno, Nevada, Desert Hearts tells the story of a 35-year-old uptight female professor Vivian (Helen Shaver) who comes to town to file for divorce and ends up falling in love with a free-spirited 25-year-old casino worker Cay (Patricia Charbonneau).
Although Vivian left her husband because she had "drowned in still waters," she is not quite prepared for the tidal wave-effect Cay has on her life. As Vivian herself admits, her life is all about "order," and her image of herself as a scholar and a professional, upstanding woman does not include a relationship with a woman. Cay, meanwhile, is living at home with her stepmother, Frances (Audra Lindley) while she waits to meet someone who "counts"--and she almost immediately recognizes that Vivian is that someone.
Both women struggle with conflicting desires and a sense of obligation to others, and are ultimately drawn together not just because of their attraction to each other, but because each woman offers the other something she has been unable to find on her own.