The film is divided into three sections like a poem or a novel: Enfer (Hell), Purgatoire (Purgatory) and Paradis (Paradise).

The first part, Hell, is presented in a non-narrative way. It is made up of lots of clips from documentary or fictional movies which depict violence, massacre, and wars in different places and different phases of time. The narration is talking about forgiveness; however, can anyone really manage to forgive if they experience hell like this?

The second part is called Purgatory. Purgatory is set in Sarajevo, a city which accommodates various races and has experienced cruel wars before. To my surprise, there is no blood or killing anymore but just normal daily life when the war has past. I think the director was trying to express that Purgatory is right now, right here. Even though the violence cannot be seen at this moment, but its influence still exists. For example, the Indians whose land has been robbed and civilization has been ruined by the violent conflicts, came to Sarajevo, which is also be ruined by the wars, claim their pursuit of freedom and rights, grabbing the white people’s books when they are reading. In Purgatory, characters are from different cultural backgrounds -- the French, the Israeli, the Jewish, the Palestinian – and it is exactly the differences in backgrounds that make their dialogue interesting. There are some dialogues which really impresses me. “- Why the revolution does not arise from humanitarians? – Because humanitarians do not make revolutions; they make libraries.” “- Why are Palestinians famous? - Because our enemy is Israeli; everyone is interested in you, not me.”

The final part is Paradise, where is full of flowers, by the sea, and everyone seems happy and painless. In the Purgatory, when Olga is asked why she came to Sarajevo, she answered that she would like to find whether there is a place on the earth that people can get along with each other in peace. However, she finds such a place only when she is killed and came to the paradise. She used to worry about her afterlife after her suicide, but fortunately, she came to the Paradise where seems to have no worries. It may be a clue that the director believes that there is not such a dreamy place in the real world. However, ironically, the Paradise are guarded by American soldiers with guns. Is it a sarcasm that America always participate into wars in the name of peace and human rights?

In my opinion, Hell is about the wars, which happens everywhere. It took place in the past and would never stop. Purgatory is about what the war left to the people. It is happening right now and would last long. Paradise can only happen in our dream but not the real world.

片子分為三個(gè)部分：地獄、煉獄（Purgatoire）和天堂。

地獄是用戰(zhàn)爭(zhēng)的影像，一些老電影的戰(zhàn)爭(zhēng)畫面，有在戰(zhàn)斗的人群，被毀滅的村莊，有黑白的，有彩色的，配意不同的音樂(lè)。

煉獄是發(fā)生在薩拉熱窩，一個(gè)女孩參加了一次講座，女孩把一張薩拉熱窩的DVD送給了戈達(dá)爾。戈達(dá)爾回到家中得到奧爾加已經(jīng)在恐怖襲擊中喪生。

天堂是描述了奧爾在田園牧歌一樣的風(fēng)景中漫步，美麗的場(chǎng)景，她遇到了一個(gè)美國(guó)士兵，一起吃蘋果。

散亂的靜態(tài)圖像表現(xiàn)著人類戰(zhàn)爭(zhēng)和殺戮場(chǎng)面，伴隨著挪威當(dāng)代鋼琴大師凱蒂·畢卓斯坦(Ketil Bjornstad)的演奏，剪輯進(jìn)一幕幕戰(zhàn)爭(zhēng)電影場(chǎng)面。隨著鋼琴加速，戰(zhàn)爭(zhēng)場(chǎng)面也隨之加劇。一個(gè)女聲偶爾地闡述著一些點(diǎn)綴其間的觀點(diǎn)?！霸谠⒀缘哪甏?，出現(xiàn)眾多為了滅絕而武裝的人類”。

趁著記憶新鮮，總結(jié)一下映后聽(tīng)香港大學(xué)講師Dr. Derek Lam講座中的一些內(nèi)容。

11/27/2020 @K11 Art House

Notre Musique英語(yǔ)名Our Music，港譯《高達(dá)神曲》。我覺(jué)得本次港譯名更勝一籌，因?yàn)檫@就是導(dǎo)演戈達(dá)爾（高達(dá)）按照但丁神曲（地獄、煉獄、天堂）的結(jié)構(gòu)范式所作的一部essay film。相比之下，Our Music《我們的音樂(lè)》說(shuō)了個(gè)啥？（p.s., 個(gè)人感受：這種essay film真是太難了，每次都太難了…）

1) Sarajevo to Godard 薩拉熱窩之于戈達(dá)爾

Yugoslav Civil War (1991-2001): ethnic cleansing, genocide, failure to intervene, role of artists/intellectuals

Godard: Je vous salue Sarajevo (1993), For Ever Mozart (1996), Historie(s) du cinema: Chapter 3A (1998), Origins of the 21st Century (2000), Notre Musique (2004)

前南斯拉夫解體后引發(fā)的一系列戰(zhàn)爭(zhēng)讓巴爾干半島至今戰(zhàn)火紛飛，已造成數(shù)十萬(wàn)人傷亡，民族對(duì)立與沖突、種族清洗、戰(zhàn)爭(zhēng)罪不計(jì)其數(shù)。Jean-Luc Godard（讓-呂克·戈達(dá)爾）的一系列作品都與這樣的大背景、與薩拉熱窩這個(gè)城市有關(guān)。在另一部作品《永遠(yuǎn)的莫扎特》的前二部分中，也有兩個(gè)年輕人要到薩拉熱窩去。時(shí)值90年代中期，薩拉熱窩還正籠罩在波斯尼亞戰(zhàn)爭(zhēng)陰云下，戈達(dá)爾在作品中傳遞出壓抑、悲觀的感情。但到了Notre Musique (2004)，戈達(dá)爾還是通過(guò)Judith這個(gè)角色展現(xiàn)了略為希望、積極的一面。

Sarajevo as a character: recovering from trauma; bearing scars of conflict; absent in For Ever Mozart; traffic & markets (daily life vs siege); library, bridge, cinema

在《永遠(yuǎn)的莫扎特》中，薩拉熱窩作為兩個(gè)年輕人最終沒(méi)能到達(dá)的目的地，實(shí)際上是缺席的；但Notre Musique影片中給出了許多薩拉熱窩的鏡頭。這是一個(gè)正在從戰(zhàn)爭(zhēng)創(chuàng)傷中恢復(fù)的城市：軌道電車往復(fù)的鏡頭、冬日風(fēng)雪、行人街道、和熙熙攘攘的市場(chǎng)，看起來(lái)與歐洲其他城市并無(wú)二致。與此對(duì)照，實(shí)際上在1992-1996年間的波斯尼亞戰(zhàn)爭(zhēng)中，薩拉熱窩曾經(jīng)被圍城長(zhǎng)達(dá)一千四百多天。影片中出現(xiàn)的地標(biāo)性建筑鏡頭還有一度被焚燒的國(guó)家圖書館（National and University Library），歷史長(zhǎng)達(dá)四個(gè)世紀(jì)的Latin Bridge（1914刺殺事件亦發(fā)生在附近，影片鏡頭中在重建修繕），以及出現(xiàn)了兩次的薩拉熱窩市中心電影院Imperial Cinema（founded in 1913，一度是市內(nèi)唯一開(kāi)放的劇院）。

2) Dialectical filmmaking: a key to Godard's late cinema 戈達(dá)爾后期電影中的辯證法（？

Marxist philosophy, Eisensteinian montage, collision of shots (thesis vs antithesis) based on oppositions ("shot"/"reverse shot"), cross-cutting (parellel editing)

For Ever Mozart themes: art & politics ("intervention" as engagement, committment); young & old ('60s youth: idealism & utopianism); existentialism "failure" (Camus, Beckett: absurdism, the void, despair)

無(wú)論是鏡頭、人物、還是影片結(jié)構(gòu)，戈達(dá)爾后期的很多電影（Nouvelle Vague, Helas pour moi, Notre musique, Adieu au language 3D）都運(yùn)用了特色鮮明的辯證式拍攝手法，以制造沖突?！队肋h(yuǎn)的莫扎特》中同樣存在藝術(shù)與政治、年輕與長(zhǎng)輩、existential crisis等辯證法式的電影沖突。具體到Notre Musique里例如：正反打鏡頭，互為對(duì)照的人物，影片中神曲三段式的結(jié)構(gòu)等。主要的對(duì)比之處包括：(1) artists和intellectuals之間：思想家/行動(dòng)者，創(chuàng)造/毀滅，勝/負(fù)，電影里面的戈達(dá)爾電影講座的正反打，lock & key，等等。(2) ethnic conflicts in history, including Trojans vs Greeks, Indians vs Cowboys, Jews vs Germans, Palestinians vs Isralis, Serbs vs Croats（真都是血海深仇…）說(shuō)到這里，Indians在圖書館里出現(xiàn)的時(shí)候有個(gè)細(xì)節(jié)：一直都是男人在大聲講話，女人想要開(kāi)口講一句卻立刻被制止，也同樣代表父權(quán)制人類社會(huì)中女性的失聲。

Judith vs Olga: journalist vs fimmaker; intellectual vs artist; interview w/ ambassdor vs films Godard's talk; dialogue vs terrorism; light vs darkness; philosophy/social sciences vs arts/religion

Judith and Olga這兩個(gè)人物是非常工整的（其實(shí)我也困惑好久，直到聽(tīng)lecture才完全弄明白），戈達(dá)爾甚至故意選用扮相非常相似的兩位演員，真的非?？简?yàn)觀眾的閱讀理解和對(duì)細(xì)節(jié)的專注程度。Judith是記者，她研究社科哲學(xué)，去參觀圖書館、橋、當(dāng)?shù)貙W(xué)校，企圖通過(guò)與大使、作家等人的對(duì)話去喚醒反思；Olga則是藝術(shù)工作者，她去聽(tīng)戈達(dá)爾本人的講座，拍攝短片，思考存在與死亡的意義，并實(shí)際上以恐怖主義行為的方式完成了殉道者式的自我終結(jié)。

3) Hell, Purgatory, Paradise 神曲：地獄，（人間）煉獄，天堂

影片一開(kāi)始，「地獄」部分就是異常激烈的戰(zhàn)爭(zhēng)蒙太奇，慘烈、震撼。在這部分的念白里面，戈達(dá)爾分別引用了孟德斯鳩的The Spirit of Laws；卡羅爾的Alice's Adventures in Wonderland；The Lord's Prayer；以及Lévinas' thought on death。這一部分也是由Judith的聲音負(fù)責(zé)念白。

「煉獄」部分由Judith切入。從機(jī)場(chǎng)回去的車?yán)镆婚_(kāi)始有對(duì)Judith特寫鏡頭，面無(wú)表情；通過(guò)切換到旁邊的翻譯再切換回來(lái)時(shí)，Judith已在流淚。Lecturer解釋說(shuō)這是種通過(guò)移開(kāi)鏡頭而切換情緒（w/o transition）的技法，包括后面：顏色鮮艷的花->黑鏡->顏色黯淡的花，都是同樣原則。隨著影片進(jìn)入到中間部分，Judith和Olga產(chǎn)生短暫的交集。Olga剛登場(chǎng)時(shí)依然在陽(yáng)光下行走于街道，但很快變得cynical，她以藝術(shù)家的方式行事，去關(guān)注哲學(xué)意義上的殉道、死亡？（這里真的沒(méi)能follow到…）

Olga死后來(lái)到「天堂」，但天堂是個(gè)小小海島，竟然由US Marines持槍守衛(wèi)（笑）。坐在海邊吃蘋果，海洋是無(wú)際的永恒，蘋果是宗教意味嗎？Olga走了一圈之后選擇閉上眼睛。

4) Themes

Arts vs politics, young vs old, hope vs despair, artist vs intellectual, self vs other

spiritual vs material, interior vs exterior, though vs action, imagination vs reality, movies vs life

聽(tīng)完講座之后更加覺(jué)得是非常有張力的一部電影。有精妙的細(xì)節(jié)：Judith作為記者去找大使做訪談，這位大使甚至在二戰(zhàn)期間救過(guò)Judith的祖母（猶太人），但對(duì)她很不熱情。右邊墻上掛著兩幅肖像分別是卡夫卡和阿倫特（小說(shuō)家 vs 思想家）；而左邊電視里放著時(shí)事新聞，又構(gòu)成了normal life vs high arts的對(duì)比。坐下訪談時(shí)，Judith固定在鏡頭里，隨著她的頭左右朝向移動(dòng)，我們可以知道大使在不耐煩地踱步，內(nèi)心十分躲避。隨后Judith又追下樓，更追去車門，連續(xù)兩次在表達(dá)強(qiáng)烈的愿望。此時(shí)左半邊屏幕是大使坐在豪華的轎車中，代表一個(gè)身居要職、在他的轎車中失去了面目的institutionalized person；右邊則是Judith，作為懷有理想、試圖思考、傳遞信息的年輕一代。豪華官邸里的香檳酒會(huì)和整體的戰(zhàn)爭(zhēng)大環(huán)境也同樣是很強(qiáng)烈的對(duì)比。

Olga的境遇又始終和Judith形成對(duì)照：大使好歹愿意與年輕人交流，最后還握手；但Olga想把拍攝的短片拿給戈達(dá)爾時(shí)卻完全被忽視（香檳！戈達(dá)爾喊。）

（我覺(jué)得最好笑的小趣味：酒吧里吐槽communism是可以戰(zhàn)勝individualism的兩個(gè)45分鐘，是說(shuō)1953年匈牙利在溫布利6-3擊敗英格蘭）