维多利亚 Victoria(2016)
又名: 维多利亚没有秘密(台) / 床上的维多利亚 / In Bed With Victoria
导演: 茹斯汀·特里耶
编剧: 茹斯汀·特里耶
主演: 维尔日妮·埃菲拉 文森特·拉科斯特 梅尔维尔·珀波 洛朗·波瓦特诺 劳尔·卡拉米 Alice Daquet 朱莉·穆利耶 Elsa Wolliaston 索菲亚·菲力瑞斯 丽芙·哈拉里 珍妮·阿拉-贝朗格 赫克托·奥巴克 安东尼·帕里奥提 Pierre Maillet 克莱尔·比尔格 奥雷利昂·贝朗热 亚瑟·哈拉里 Vincent Dietschy 塞布丽娜·莎瓦 Thomas Lévy-Lasne
制片国家/地区: 法国
上映日期: 2016-05-12(戛纳电影节)
片长: 97分钟 IMDb: tt5078214 豆瓣评分：6.8 下载地址：迅雷下载
简介：
- Victoria Spick, a criminal lawyer in a total sentimental void, grudgingly accepts to defend Vincent, while she hires Sam as an au pair. The beginning of troubled times for Victoria.
演员：
影评：
- 法国的纯喜剧片往往卖座不叫好，但文艺片导演拍喜剧会格外讨巧。好看又有品，珠斯迪纳·梯耶（Justine Triet）执导的最新电影——《维多利亚》（Victoria）算是个成功案例。这名年仅38岁的女导演2013年曾被《电影手册》（Cahiers du Cinéma）列入法国新生代电影人之列，此次拍了部集荒诞和浪漫于一体的爱情喜剧片，各大媒体给出爆表评分，上映不到一个月，入座率蝉联全国票房之首。
男与女、人类和动物、个体和社会、荒诞和秩序、工作和生活、原告和被告、白天和黑夜、阳光和忧郁、成功和失败。《维多利亚》是幅现代女性画像，也是部能把矛盾和对立玩味到极致的电影。
这一切要从女主角在心理诊所看病的一幕开始，“我的生活乱透了”，她喃喃自语。客厅杂乱，各路衣物无章地摆放在各个角落，两个三四岁的小女孩，她们光着背只穿着小裤衩自娱自乐，很难想象房子的主人是名女律师。但当维多利亚狂飙英语，把抱怨她工作忙而提出辞职的男保姆骂个狗血淋头时，女强人的本色才尽显无疑。
白天在外，她是个光鲜且小有名气的刑法律师；晚上在家，她结交不同的陌生男人同眠共枕获得慰借，个人生活一团糟。这还不算，一场婚礼彻底把她拉入麻烦的深渊。本来是别人喜庆的日子，好友文森却惹上官司，被女友告上法庭，指控他暴力行凶，维多利亚被迫出来为他辩护。在同一个婚礼派对上，她还偶遇此前的客户萨姆，他之前是个毒贩，阴差阳错借住在维多利亚家客厅并兼任小孩保姆。
为朋友辩护有不少风险，其间她因疏忽被罚，停职半年赋闲在家。更糟糕的是，维多利亚发现自己的“艺术家”前夫正把她的职场案例写入博客，曝光了不少隐私，导致她险些被人追杀。“当我们落入深渊之底时，却发现里面再也没有洞了”，她自嘲说。
比利时演员维吉妮·艾菲拉(Virginie Efira)挑大梁，担任女主角，把维多利亚这一法国熟女的角色诠释得恰到好处，她性感妩媚、随性率真，虽然个人生活陷入窘境，但依旧积极尝试各种方法疗伤，改变自我，内心强大到让人妒忌，是个神经有些大条的乐天派。
维多利亚参加婚礼时身着金色裙子，让人过目不忘，穿衣人和衣服一样，闪闪发光特别耀眼，“你的美，便是你的力量”，套用片中一句话形容她最合适不过。她独自一人去看心理医生、三番五次求占卜神婆为自己算命、也会到按摩店释放杂念，或跟不同的炮友诉说自己的烂摊子。独立和孤独有时是对冤家，搞不好会如影随形，这或许是现代女性的骄傲和忧愁。
法国大文豪福楼拜说，“包法利夫人是我”，导演梯耶也可以说，“维多利亚是我”。2013年，梯耶的首部长电影《索尔菲雷诺之战》(La Bataille de Solférino)讲了2012年法国大选前，一名电视台女主持紧张慌乱的一天，里面同样有个忙到焦头烂额的女主角、无助的小孩、人渣前夫和男保姆。导演自己临近不惑之年，事业处于上升期，生活里可能比俩女主角还要忙，同样是无法时刻陪伴自己的女儿，这样看来，她的生活跟影片的故事轮廓有几分相似。
“40岁时我们被生活’迫害’的差不多了，在残缺的友情和爱情面前总有些被动。拍一个20岁的姑娘？我对此毫无兴趣。”这是导演原话。
她美术出身，拍了几年的纪录片后才尝试拍长电影，在她的戏里，人物和社会，甚至是个体和时代互动频繁。猴子自拍、小狗出庭作证引发媒体狂欢、人类痴迷社交网路、当今社会追求效率和表现、信息时代引发隐私保护的探讨、现代人陷入性爱困惑等等在八十多分钟的影片中展现无遗。
梯耶作为编剧，台词快短狠，又点到为止，包袱一个接一个，节奏紧凑，没有尿点，通过幽默打造她眼中的“一花一世界”，把时代病一一点出来。电影好看之余，她头顶上的那个“作者电影人”（film d’auteur）的精英称号也不至于沦陷太深。
男女主角相拥而吻，影片以happy end结束，俗套又美好。两位男女主演——艾菲拉和文森·拉科斯特（Vincent Lacost）习惯出演些傻白甜的大众电影，或许事业到了瓶颈期，最近相继同个人风格鲜明的精英型导演合作。艾菲拉在保罗·范霍文的新电影《她》中亮相，拉科斯特出演帕斯卡尔·鲍尼泽尔(Pascal Bonitzer)新电影《立刻马上》的男主角。《维多利亚》上映，说两人从此晋升到法国一线演员行列，毫不夸张。
法国“作者电影”和大众电影向来井水不犯河水，像两条永远不会相交的平行线，梯耶游走于个人风格和大众文化之间，颇有伍迪·艾伦之风，或开启法国电影的新潮流。
Ok, we need to talk about Justine Triet. ANATOMY OF A FALL, her fourth feature film, is legitimately her crowning glory after copping both Palme d'or and an Oscar for its sparklingly thought-provoking screenplay (out of a total 5 nominations including Best Picture and Best Director, the very first French female French director nominated in the latter category). Curiously, after watching her second feature VICTORIA and third feature SIBYL, both starring Virginie Efira as their eponymous protagonists, a viewer can suss out Triet's stock-in-trade, her unequivocal, unapologetic approach of defining and portraying womanhood on her own feminist terms.
VICTORIA and SIBYL could be seen as a twin project (both Victoria and Sibyl's two kids are played by Jeane Arra-Bellanger and Liv Harari, the latter is the daughter of Triet and her partner Arthur Harari, who is also a filmmaker and contributes to the scripts of both SIBYL and ANATOMY OF A FALL). Victoria is a nymphomaniac lawyer whose life goes off the rail after she reluctantly accept to be the defense attorney of her close friend Vincent (Poupaud, caricaturing a self-centered douchebag to a T), who may or may not stab his lover Eve (Daquet). Taking Samuel (a puppyish Lacoste, buzzing with sensitivities), a former pusher who volunteers to be her lived-in assistant/babysitter, for granted, Victoria belatedly realizes her true love is just around the corner, albeit a cradle-snatching one.
Whereas Sibyl is a psychotherapist with an alcoholic past who tries to resume her real ambition as a writer. Fascinated by her latest patient Margot (Exarchopoulos), a young actress devastated by her entanglement with a fellow actor Igor (the late Ulliel), Sibyl makes an unethical decision that eventually compels her into self-examining her self-concept, in particular, the lingering Freudian attachment with her ex-boyfriend Gabriel (Schneider, also Efira's real-life partner).
In a way, Sibyl is Victoria's continuation, who finally learns to settle down with Étienne (Hamy), a decent if not ideal man in her conception, and move on from her psychosexual yearnings. Her attempt to re-experience that indelible carnal passion through Igor (a surrogate of Gabriel) is her last resort and such an impulsive, against-one's-better-judgement act is rarely beneficent. However, SIBYL runs out of steam after the movie-shooting scenes in Stromboli, where Hüller's German film director Mika, Igor's current girlfriend, has a madcap nervous breakdown. Evidenced by the higgledy-piggledy editing, Triet strains to clarify Sibyl's emotional baggage, her breakdown during the film's premier and the total bibulous abandon in the afterparty are imagineered only for the sake of a grandstanding climax. Is that her conscience finally catches up with her? It is a tad too late considering her novel has already been published and Margot is too air-headed to feel violated.
Efira's brilliance in modulating her affective expression is attested by both films. In VICTORIA, she magnifies Victoria's immaturity with a crispy innocence, otherwise how on earth she could be pally with a character like Vincent? In SIBYL, the script purveys more room for her to characterize Sibyl's self-spiderwebbed scrape, and she goes to the deep end with both élan and emotional rawness, not to mention the daring, graphic but not gratuitous sex scenes between her and Schneider, their desire is devouring each other.
ANATOMY OF A FALL, a courtroom drama putting German novelist Sandra (Hüller) on the defendant stand for the murder of his husband Samuel (Theis), encompasses sundry elements from both VICTORIA and SIBYL: a trial (that goes without saying), plagiarism (one of Sandra's books borrows ideas from Samuel's aborted novel), the lopsided power balance between a couple (Gabriel's accusation of Sibyl echoes Samuel and Sandra's dissonance), an unscrupulous psychotherapist (glaringly discarding the doctor-patient confidentiality in the courtroom), secretive recordings (Samuel's actions may suggest something more sinister, could it be his willful incrimination of Sandra?), even the key function of a dog (here, Messi the Border collie is a veritable canine star, not least for that complex overdosing performance!). But what conduces to a quantitive leap in the final film is a felicitous combo of directorial bravura, a sterling cast and a gripping courtroom procedural that hits the mark of its cardinal gender politics, i.e. the putrid dynamism between a high-flying wife and an unsuccessful, presumably suicidal husband. A gender switch that debunks the misogyny that is still insidiously prevalent in a model society.
If the whole indictment feels rickety - in default of any concrete evidence, one might wonder whether Sandra could even be trialed for homicide in the first place - Triet's intention is fixed upon searching for truth rather than the truth itself (which is never revealed). The whole process is propelled by a stunning momentum as the gendered clash baring its nasty teeth through various witnesses and most egregiously, the prosecutor (a ferociously shrill Reinartz), who even cites excerpts from fictional works to color Sandra's innocence, whereas Arlaud's defense lawyer Vincent is a hard-nosed friend in need, stupendously sweeps Sandra off her feet with his salt-and-pepper pelt and a soulmate communion.
Tellingly, Hüller is as electrifying as the hype boasts, a commanding presence that is incredibly humane, resilient and feels real to us because, like everyone else, Sandra is both strong and vulnerable. Assertive and emotionally competent to fight for her truth, yet as a mother, she can be confounded or even inept in front of her vision-impaired son Daniel (Machado-Graner). During the money shots, a re-enactment of the row between her and Samuel a day before the accident, Hüller knocks audience dead stock-still with her impassioned retorts. Each sentence is as excoriating as a sharp twisted knife, that can leave a dejected man riddled with wounds.
Also the 14-year-old Machado-Graner is a godsend discovery. Although his initial testimony discloses the unreliable nature of a child's judgment, Daniel soon emerges as a key witness in the trial. More so, in his critical recollections of a prior incident whose importance looms large after the fact, Daniel acquits himself as a conscientious decision-maker, to come to terms with a most probable causation of a shocking tragedy, a faculty with which everyone should equip themselves in preparation for the checkered life as we all know it. Machado-Graner exhibits an uncanny pretense of maturity and self-deprecation that totally befits the context and the character arc.
Nonetheless, Yours Truly cannot help but wish Triet could've been a "bigger" filmmaker than a tit-for-tat avenger of the wronged, prejudiced or victimized members of the fairer sex. Supposing that a depressed Samuel is truly hipped on the suicidal ideation, during their heated argument, Sandra, his wife and companion for all these years, shows not an inkling of consideration for his fragile mental state. Laying on thick with accusations (however veridical they are), all she wants to prove is that she is guilty-free in his own fix, not realizing that he is on the precipice of giving up himself entirely, perhaps, that is the last straw if Samuel indeed commits suicide. From that angle, Triet's punitive insensitivity towards the sterner sex (especially those who are lesser than her capable heroines) also unfortunately, betrays her own pettiness and mean spirit in her crusade of equality and gender justice. If women are indeed better than men, magnanimity may not be the exact phenotype one can easily observe from them.
referential entries: Albert Dupontel's BYE BYE MORONS (2020, 6.6/10); Xavier Dolan's HEARTBEATS (2010, 5.2/10); Christophe Honoré's SORRY ANGEL (2018, 8.1/10); François Ozon's BY THE GRACE OF GOD (2018, 7.2/10).
Title: Victoria
Year: 2016
Country: France
Language: French, English
Genre: Comedy, Romance, Drama
Director: Justine Triet
Screenwriters: Justine Triet, Thomas Lévy-Lasne
Cinematography: Simon Beaufils
Editor: Laurent Sénéchal
Cast:
Virginie Efira
Vincent Lacoste
Melvil Poupaud
Laurent Poitrenaux
Laure Calamy
Alice Daquet
Sophie Fillières
Jeane Arra-Bellanger
Liv Harari
Julie Moulier
Arthur Harari
Claire Burger
Rating: 7.0/10
Title: Sibyl
Year: 2019
Country: France, Belgium
Language: French, English, Italian
Genre: Drama
Director: Justine Triet
Screenwriters: Justine Triet, Arthur Harari
Cinematography: Simon Beaufils
Editor: Laurent Sénéchal
Cast:
Virginie Efira
Adèle Exarchopoulos
Gaspard Ulliel
Sandra Hüller
Niels Schneider
Paul Hamy
Laure Calamy
Arthur Harari
Jeane Arra-Bellanger
Liv Harari
Lorenzo Lefebvre
Adrien Bellemare
Rating: 6.8/10
English Title: Anatomy of a Fall
Original Title: Anatomie d’une chute
Year: 2023
Country: France
Language: French, English
Genre: Drama, Crime
Director: Justine Triet
Screenwriters: Justine Triet, Arthur Harari
Cinematography: Simon Beaufils
Editor: Laurent Sénéchal
Cast:
Sandra Hüller
Swann Arlaud
Milo Machado-Graner
Antoine Reinartz
Samuel Theis
Jehnny Beth
Saadia Bentaïeb
Camille Rutherford
Anne Rotger
Sophie Fillières
Antoine Buéno
Anne-Lise Heimburger
Wajdi Mouawad
Sacha Wolff
Vincent Courcelle-Labrousse
Rating: 8.2/10
看介绍说本片维尔日妮·埃菲拉饰演了一个尝试寻找爱情的单身母亲，既有中年危机的窘迫，又有探索性爱的刺激，同时还伴有普通女性面对生活的种种困境。大器晚成的维尔日妮·埃菲拉对这种喜剧题材驾轻就熟，演起来得心应手。但是因为没有找到中文字幕，其中的细节能够带给我对生活的感悟想法都无从谈起。那么就说说大女主维尔日妮·埃菲拉 Virginie Efira吧。
本片中维尔日妮·埃菲拉 Virginie Efira与配戏，二者相差16岁，无独有偶，我看过的她主演的屈指可数的的影片里，还有一个她在《》中与配戏，二者差了12岁，却谈了一场轰轰烈烈的姐弟恋！只是与在《》中与她配戏的基姆·古铁雷斯二者相差4岁（令维尔日妮·埃菲拉 Virginie Efira名声大噪的《圣母》电影，得细细品味权力、宗教、谎言、欲望与牺牲之间的联系，故需要精心静心欣赏，才有可能有所领悟）。所以说姐弟恋大行其道是有一定市场的。比如王菲与谢霆锋、钟丽缇与张伦硕、伊能静与秦昊……
毕竟，男人喜欢年轻貌美的女人，女人也喜欢年轻帅气的男人，这是人类的共识。爱美之心人皆有之，生活在这个世界上的每一个人，都对美好的事物充满向往。
这，真的无可厚非，但愿深陷其中的恋人们都是勇士，不仅仅有飞蛾扑火的决心，还有愿得一心人,白头不相离的结局。
说远了。虽然没有中文字幕，不过，维尔日妮·埃菲拉弹钢琴时裸露的美背有一点太过惊艳，虽然已是半老徐娘，比不上年轻女性背部皮肤紧致，但也是曲线优美，弧度恰到好处。都说背部是女人的第四张脸，果然名不虚传！尤其是高挽着发髻，展露着修长的脖颈，立即将魅惑隐入骨子里，充分展示了维尔日妮·埃菲拉中年女性成熟的、最撩人的性感！三星都给她本人吧，谁让我没有找到中文字幕了。