LONDON (Reuters) - Gay characters and themes have become so common in film that it came as a shock when director Adam Csaszi said he changed his movie based on a true story about a gay footballer and his lover in rural Hungary because the reality was too brutal. Speaking at the Berlin film festival, Csaszi said what actually happened in the incident on which his film "Viharsarok" ("Land of Storms"g) is based is that two gay men were killed by a third man who chopped up their bodies. "If I told the real story...then the motive of the murder would be jealousy and not this homophobia in society," Csaszi told an audience at the film's Berlin premiere on Saturday. He said he wanted to show that the local man growing up in a deeply religious rural environment, finding that he is attracted to men, "has no set of tools on how to deal with this homophobia and this is actually the motive of the murder". Since Ang Lee's classic 2004 gay cowboy movie "Brokeback Mountain", or perhaps the even earlier French film "La Cage Aux Folles", gay-themed movies and characters have become increasingly mainstream. But the offerings at the 64th Berlin International Film Festival, known officially as the Berlinale, illustrate a sharp divide between how the subject is treated in societies where homosexuality is no longer taboo, and places where the sight of a man kissing a man or a woman necking with another woman generates hostility, or sometimes violence. In American director Ira Sachs' "Love Is Strange", screened in Berlin, two men who have been in a relationship for four decades take advantage of liberalized laws to get married - and promptly lose their New York apartment. John Lithgow, who stars as one of the married men, told a festival news conference that the movie isn't so much about gay people and same-sex marriage as it is a study of a "cranky old marriage, like my own". "People who have been committed to each other for 40 years should not be completely different just because they've been in a same-sex union," Lithgow said.Sachs and Lithgow said the film was not intended to advocate on behalf of same-sex marriage, but Lithgow said he hoped it would be seen in Russia, which he did not cite by name while leaving no doubt about his meaning. "There is a major nation in Europe which has a rule against propaganda on behalf of a gay lifestyle. I don't think our film is propaganda at all. I think it's real life," he said. HARSHER, DEADLIER "Real life" is harsher and sometimes deadly for the characters in Csaszi's "Viharsarok" and also in the Philippine-made movie "Unfriend", about the country's obsession with social media and mobile phones that can have the side effect of "outing" people and revealing jealously guarded secrets. The main character, 15-year-old David, is "out" in the online world, but his very Catholic grandmother with whom he lives has no idea. In a scene where he goes out to buy credit for the Internet, two young boys follow David, taunting him by calling him "faggot". "The Internet has changed the way gays navigate through society, but it has also pushed us to the side because we are in the Internet, we are safer there," Joselito Altarejos, the film's director, told Reuters. At the same time it has also become a menu - what do you want - tall, smooth, old? I don't know where this whole thing is taking us to, but at the same time we have to accept that this is how we live now." Csaszi's main character, the football player Szabolcs, returns to his late grandfather's derelict farm in the countryside after a crushing defeat of his club in Germany. His encounter with local stonemason Aron at first promises a healthy relationship but turns sour when a member of the soccer club who also fancies Szabolcs turns up. As word of Szabolcs', and then Aron's, sexual orientation gets around, they are both beaten up and ostracized by the locals in the small village where everyone is a churchgoer. "I think we do have different developments" in tolerance from one country to another, Ulrich Ortlieb, 30, who works for a film festival in Hamburg, said after the screening. "When they told that actually the real story was much heavier than they showed it to us (in the film) I thought then, 'Well, okay, in Hungary situation is even worse'."

倫敦（路透社）-同性戀人物和主題在電影中變得如此普遍

當(dāng)導(dǎo)演亞當(dāng)·卡薩齊（Adam Csaszi）表示他根據(jù)有關(guān)匈牙利農(nóng)村地區(qū)一名同性戀足球運(yùn)動(dòng)員和他的愛(ài)人的真實(shí)故事改變了電影時(shí)，感到震驚，因?yàn)槭聦?shí)也是野蠻。 卡薩齊在柏林電影節(jié)上發(fā)表講話時(shí)說(shuō)，他的電影《風(fēng)暴之地》所發(fā)生的事件中實(shí)際發(fā)生的事是兩名男同性戀者被第三人殺害且分尸。 卡薩齊在電影的柏林首映禮上對(duì)觀眾說(shuō)：“如果我講真實(shí)的故事……那么謀殺的動(dòng)機(jī)就是嫉妒，而不是社會(huì)上的這種恐同心理?！?他說(shuō)，他想證明這個(gè)當(dāng)?shù)厝嗽谝粋€(gè)深信宗教的鄉(xiāng)村環(huán)境中成長(zhǎng)，發(fā)現(xiàn)他被男人吸引了，“沒(méi)有一套應(yīng)對(duì)這種同性戀恐懼癥的工具，這實(shí)際上是謀殺的動(dòng)機(jī)” 。 自從李安（Ang Lee）2004年經(jīng)典的同性戀牛仔電影《斷背山》（Brokeback Mountain），甚至更早的法國(guó)電影《 La Cage Aux Folles》問(wèn)世以來(lái)，以同性戀為主題的電影和角色已經(jīng)越來(lái)越成為主流。 但是第64屆柏林國(guó)際電影節(jié)（正式稱為“柏林電影節(jié)”）上的節(jié)目表明，在不再是同性戀的社會(huì)中，如何對(duì)待這個(gè)主題與看到男人親吻男人或女人的地方之間存在著巨大的分歧。與另一個(gè)女人的脖子產(chǎn)生敵意，有時(shí)甚至是暴力。 在柏林上映的美國(guó)導(dǎo)演艾拉·薩克斯（Ira Sachs）的《愛(ài)情很奇怪》中，有兩個(gè)戀愛(ài)關(guān)系已經(jīng)有40年歷史的男人利用自由化的法律結(jié)婚，并迅速失去了在紐約的住所。 約翰·里斯高（John Lithgow）是已婚男人之一，他在節(jié)日新聞發(fā)布會(huì)上說(shuō)，這部電影與同性戀和同性婚姻無(wú)關(guān)，因?yàn)樗菍?duì)“像我一樣的老舊婚姻”的研究。 利思高說(shuō)：“彼此承諾40年的人不應(yīng)只是因?yàn)樗麄兲幱谕曰橐龆耆煌??！彼_克斯和利思高說(shuō)，這部電影的目的不是要代表同性-性婚姻，但利思高說(shuō)，他希望能在俄羅斯看到這種婚姻。他沒(méi)有舉任何名字，但對(duì)此毫無(wú)疑問(wèn)。 他說(shuō)：“歐洲有一個(gè)主要國(guó)家代表同性戀生活方式進(jìn)行宣傳。我認(rèn)為我們的電影根本不是宣傳。我認(rèn)為這是真實(shí)的生活。” 苛刻的經(jīng)銷商 對(duì)于切薩奇（Csaszi）的《維哈薩羅克（Viharsarok）》以及菲律賓電影《 Unfriend》中的角色而言，“現(xiàn)實(shí)生活”更為殘酷，有時(shí)甚至是致命的。并揭示了被保護(hù)的嫉妒的秘密。 主角15歲的大衛(wèi)在網(wǎng)絡(luò)世界中處于“外出”狀態(tài)，但與他住在一起的非常天主教的祖母卻一無(wú)所知。在他出去購(gòu)買互聯(lián)網(wǎng)信用的場(chǎng)景中，有兩個(gè)小男孩跟隨大衛(wèi)，稱他為“同性戀”嘲弄他。 電影導(dǎo)演何塞利托·阿塔雷霍斯（Joselito Altarejos）告訴路透社記者：“互聯(lián)網(wǎng)改變了同性戀者在社會(huì)中的導(dǎo)航方式，但它也將我們推向了一邊，因?yàn)槲覀冊(cè)诨ヂ?lián)網(wǎng)中，在那里我們更加安全。” 同時(shí)，它也已成為菜單-您想要什么-高大，光滑，古老？我不知道這一切將我們帶到何處，但同時(shí)我們必須接受這就是我們現(xiàn)在的生活。” Csaszi的主要角色，足球運(yùn)動(dòng)員Szabolcs，在德國(guó)俱樂(lè)部遭到慘敗之后，回到了已故祖父在鄉(xiāng)下的廢棄農(nóng)場(chǎng)。 起初他與當(dāng)?shù)厥嘲⒙〉南嘤霰ＷC了健康的關(guān)系，但是當(dāng)足球俱樂(lè)部的成員也想起薩博爾奇時(shí)，他的遭遇就變酸了。 隨著Szabolcs和Aron的性取向逐漸消失，他們都被這個(gè)小村莊里每個(gè)人都信奉教堂的小村莊的當(dāng)?shù)厝藲蚝团懦狻? 30歲的烏爾里?！W爾特利布（Ulrich Ortlieb）為漢堡的一個(gè)電影節(jié)工作，他說(shuō)：“我認(rèn)為我們的容忍度在不同國(guó)家之間確實(shí)有不同的發(fā)展”。 “當(dāng)他們告訴我真實(shí)的故事比他們?cè)陔娪爸邢蛭覀冋故镜恼鎸?shí)故事要重得多時(shí)，我當(dāng)時(shí)想，'好吧，在匈牙利，情況甚至更糟'。 －分割線－

翻譯為機(jī)翻，有個(gè)別翻譯不當(dāng)之處麻煩指出，謝謝

無(wú)一例外，我很偏愛(ài)冷色調(diào)。

剛開(kāi)始時(shí)覺(jué)得就是一般的電影情節(jié)，男主自我認(rèn)同，掙扎，最后和愛(ài)人在一起，然后就是Happy Ending。但是看到最后，我看到的卻是這個(gè)世界。

這個(gè)世界有多少人愛(ài)你，就會(huì)有多少人討厭你。

看過(guò)上帝之國(guó)對(duì)于愛(ài)情的美好，看過(guò)請(qǐng)以你的名字拒呼喚我的遺憾，看過(guò)夏威夷里面的曖昧，還是得看看現(xiàn)實(shí)里的殘忍。

我們面對(duì)別人的眼光究竟是怎樣的一種態(tài)度，我們自己有數(shù)。

電影里的阿倫像極了我的第一任，在他出現(xiàn)的第一刻我變覺(jué)得無(wú)比熟悉，看完了我才想起是誰(shuí)。性格很像，態(tài)度很像，最后，我突然想起我們是怎么分開(kāi)的。我那個(gè)時(shí)候還沒(méi)有完全自我認(rèn)同，我還是在在意別人的眼光。也對(duì)于愛(ài)情抱著絕對(duì)的幻想。容不得一點(diǎn)瑕疵。

最后的最后，我殺掉了自己，認(rèn)識(shí)自己，明白自己。

縱情聲色，就準(zhǔn)備好接受代價(jià)。

無(wú)懼風(fēng)言，愛(ài)你所愛(ài)