五恶魔 Les Cinq Diables(2022)
又名: 五个恶魔 / The Five Devils
导演: 蕾雅·梅西斯
主演: 阿黛尔·艾克萨勒霍布洛斯 达芙妮·帕塔基亚 诺亚·阿比塔 帕特里克·伯利奇 Moustapha Mbengue Sally Dramé Swala Emati
类型: 剧情
制片国家/地区: 法国
上映日期: 2022-05-17(戛纳电影节)
片长: 96分钟 IMDb: tt13391708 豆瓣评分：7.2 下载地址：迅雷下载
简介：
- 维可是一个奇怪而孤僻的小女孩，她有一个神奇的天赋：可以复制任何她喜欢的味道，并把它们收集到一系列仔细标记的罐子里。她偷偷地捕捉了乔安妮，也就是她母亲的气味。她对自己的母亲怀有狂野、过度的爱。当她的姑姑茱莉亚闯入她们的生活时，维可复制了她的味道，并被带入了黑暗而古老的记忆中，这使她揭开了她的村庄、她的家族和她自己存在的秘密。
演员：
影评：
1，故事发生地是法国东南小城格勒诺布尔（Grenoble，马赛正上方），位于阿尔卑斯山区，著名滑雪胜地，1968年办过冬奥会。电影开场收音机聊过滑雪游客的事，雪山远景也出现过好几次
百度搜图，侵删2，片名“五恶魔”，法语直译，不知道具体所指，貌似跟城里发生火灾的那家体育馆或当时体育馆里的体操活动有关。“恶魔”法语 Diable，也有调皮捣蛋的意思，小女孩Vicky是不是穿越五次搅动了尘封已久的往事？反正我没数清楚。叹，不懂法语，只能干着急 3，阿黛尔主演的Joanne是小城里的游泳教练，她有个很仰慕依赖自己的十岁女儿Vicky，丈夫Jimmy是消防员，游泳馆摆着两人的结婚照，但两人感情不温不火，貌似很久很久没有性生活了。Joanne明显不开心，不怎么捯饬自己，最大的爱好是在雪山下冬泳。有一天，丈夫Jimmy接到了妹妹Julia的电话说要过来拜访，Joanne强烈反对无效，Vicky则对姑姑Julia莫名有敌意 2，故事主要是（但不完全是）他们女儿Vicky的视角。Vicky嗅觉敏锐，喜欢收集并调配奇奇怪怪的味道，包括她敬爱的妈妈Joanne的味道（女儿对妈妈的爱很明显，开头在游泳馆眼睛一刻也离不了妈妈，妈妈冬泳时也是贴心尽职的小助手）。这种癖好甚至跨入了奇幻领域，她调制的气味能带她穿越时空回到过去，从而发现了妈妈与姑姑Julia十年前自己还未出生时的秘密情事：她们是高中体操队友，彼此相爱，曾约好圣诞表演后一起私奔马赛；父亲Jimmy当时和另一个体操队员Nadine谈恋爱，圣诞火灾后Nadine毁容，父亲随后娶了妈妈。Vicky本能地敌视姑姑，现在原因看来很简单：如果妈妈当年真跟姑姑跑了，自己根本就不会出生；现在姑姑来家了，妈妈会不会被姑姑抢走？姑姑自杀（未遂）后，Vicky跟妈妈有段对话，女儿问：“我不存在以前，你就爱着我吗？你爱她比爱我更多吗？没有她你还能活吗？你能活吗？”妈妈回答：“我不知道……我觉得不能。” 3，改变主要人物生活轨迹的，就是十年前体育馆圣诞节庆时的火灾，而火灾的直接原因，是Vicky调制姑姑气味后穿越到了现场，姑姑受到惊吓（注意，过去的Julia一直能看到Vicky，以为自己疯了，精神有问题），试图放火驱走幻象，大火失控，姑姑进了监狱，妈妈打消离开小城念头，Nadine毁容，妈妈和爸爸结婚，自己出生，等等 4，Joanne喝醉了，和Julia同台卡拉OK，选的歌是《心之全蚀》（啊啊啊，刚看完《弗莱斯曼有麻烦了》的人心想这也太巧了吧），这下好了，她们的事大家全都知道了。接着，Jimmy去找Nadine，两人啪啪啪旧情复燃，配乐是“It Should Have Been Me”，绝了，点题曲，本该是我，本该是我的，都怪命运的捉弄 5，神奇的是，姑姑Julia也利用气味，进入了侄女Vicky的生活。早前Vicky调制的气味，已经带她穿越到了姑姑小时候。现在，电影最后一个镜头，是一个陌生的黑人小姑娘闯入，旁观Vicky和爸爸相拥。这个小女孩是小时候的Julia吗？逻辑上是，但演员不像，成年Julia眉间尺很宽。这一幕我倾向于没有深意，只是想制造悬疑。因为功能上看完全没必要，最后几方都和解了嘛，爸爸找回了Nadine，妈妈找回了Julia，女儿也并没有因此失去妈妈的爱，每个人都有光明的未来 6，除了神插曲，整个片子配乐也很棒，悬疑以外，还有那种荒凉冷寂、心无着落的空虚感 7，总结一下，抛开奇幻因素，电影叙事手法就是让女儿去发掘父母的情感史，特别是借女儿的视角来讲妈妈的情事，女儿嫉妒很正常，是求生本能，此外，所谓“本该是我”，指Vicky拥有妈妈的人生，指Jimmy和nadine相互拥有，还指Joanne和Julia相互拥有，这个“本”字，是错过、遗憾、失落、怅惘，人生没有你就是不同，永远的痛，Joanne和Julia爱得很深，十年都没有释怀，一个结了婚不开心，一个忍不住来探望，竟至于灰心自杀，啊，本该是我，本该是我的
搬运保存：
Source：
搜了好久，蓦然回首歌单就在Spotify，感谢互联网。
年度最佳music supervisor电影。
（虽然对用繁衍/后代来challenge同性恋有点一言难尽）
网易云：
《五恶魔》。9分。
蕾亚·梅西斯编剧、导演，阿黛尔·艾克萨勒霍布洛斯、达芙妮·帕塔基亚主演作品。
这应该是我看过的所有片子中最不同的一部，它给我带来的触动几乎不亚于过去任何一部作品。
小女孩维琪极其崇拜和迷恋自己的母亲乔安妮，母亲是个游泳教练，业务爱好就是喜欢去阿尔卑斯山脚下的湖里冬泳。维琪还有一种特殊的能力，她能通过收集亲人身上的气味从而进入他们过去的生活。非常奇幻。
这种如湖面一样宁静的生活被姑姑茱莉亚的到来打破，她刚刚出狱并接受治疗回来。
维琪收集姑姑的气味，进入了她过去的生活。她看到了令她无比震惊的过去——原来妈妈和姑姑才是真正的亲密爱人。
那么，如果不是因为发生了什么变故？这个世界上怎么会有维琪的存在呢？
而更神奇的是，当维琪进入姑姑过去的生活时，姑姑其实也可以看到她？
这真是个神奇的故事，尤其是片尾，它令我惊愕，也终于知道为什么片名要译为《五恶魔》？
Slashfilm记者Lex Briscuso采访演员阿黛尔、导演蕾雅·梅西斯、共同编剧保罗·圭哈姆。
关于电影的主题、片名的意义、演员的选择、表演的感受、对观众的期望。
原文链接：
截取部分问题，以下是采访原文：
Lex Briscuso: How was this story born from within you? What influenced you or inspired you? It's a very unique story yet it plays with a lot of really universal themes.
蕾雅·梅西斯: The idea came from a personal interest. You know, I've always been very interested in smells and aromas and scents since I was a child. I used to play with my twin sister and we [would] concoct different potions and try to make up cigarettes with flowers that we picked up in the grass and in the wilderness. It's an interest that I've been cultivating up to now. I like to guess the elements that make up a perfume on someone, or the smells that I smell in the street. But, I did not want to set a film in the perfumery industry. I wanted it to be a more primal, primitive story, more central and sensory oriented.
So I had this idea of having this little girl with these unusual powers, and the character was much influenced by the fact that I was reading a lot of American literature at the time, James Baldwin, Jim Harrison, and Maya Angelou. In those novels, the fact that the characters and the places become legends and they deal with universal themes is what really inspired me. So, I wanted this little child to wonder where she's coming from, and to wonder the extent of her mother's love, a mother who somehow is hiding a secret, and she knows that she's hiding a secret. She's trying to do all she can in order to disclose [her mother's] past.
Lex Briscuso: 'The Five Devils' being the name of the sports center, and even the lake, is incredibly clever, especially because it ties into the five leads of the film. Why did you settle on this title? And were there ever any other titles that you considered?
蕾雅·梅西斯: I don't know how we thought about it. I later realized that it's five characters, actually. It's another element that reminds us of the figure. I like those kinds of titles, though. When I was looking for them, I thought about [Ingmar Bergman's] "The Seven Seal," for instance. I like titles that are made of numbers and words that somehow make us think about legendary things.
Lex Briscuso: What made you want to open the film with that image of Adèle [as Joanne]? It's incredibly powerful and it sucks you right into the film. It also plays into the theme of the gaze, which I feel is so prevalent in this film. Everyone is just staring at each other down a lot of the time.
蕾雅·梅西斯: It was the first image that I had in mind when I started writing. This young woman turning in front of the fire and yelling. I was [starting from] [starting from] this specific image [through which] I developed the screenplay. And then I read a novel by a French thinker and intellectual that's called "The Sexual Night." It's Pascal Quignard. He talks about the invisible scenes, the scene that all children dream of being able to watch. And they cannot, because it's something that precedes their birth and so they can never see it. But it's a scene that is very violent. It's the symbol of total chaos with fire and massacre and a lot of violence.
Of course, it's the scene that cannot be seen because [it's] the scene of the intercourse that allowed the child to be conceived and the child is not entitled to see it. But it's that kind of primal and primitive image that I thought of. I thought it was a good way of starting the film. It sets us immediately [into] the main theme of the film, about the quest for the mother and what she's hiding. And it allowed us to be with that image throughout the film. [When] we meet Joanne in the swimming pool and we see her eyes and her gaze, we know that we have seen that scene originally. So it accompanies us.
Lex Briscuso: What do you both want the audience to take away from the ending of this film?
蕾雅·梅西斯: What I like the audience to feel is that when they walk out of the theater, [they feel] that they experienced a very strong, even funny moment with strong emotions. But then I would love them [in] a few hours to ponder, to go back on it and have other emotion surfacing and meditations and thoughts for thoughts.
阿黛尔: What I like in this movie, and that's what I love in [Lea's first feature] "Ava," is that it's playful. Like you participated. It's more something growing up inside you after. I would be excited that people might think through stuff. But to be honest, it's the fact that you can take a direction in your life. And sometimes we don't ask ourselves, "But what if [I do] this?" Secondly, it's a movie where I'm going out and I'm asking myself questions, but not just like, "Who is this girl?" The most important [thing for people to take away] is just keep working and asking questions.