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

當導演亞當·卡薩齊（Adam Csaszi）表示他根據(jù)有關匈牙利農村地區(qū)一名同性戀足球運動員和他的愛人的真實故事改變了電影時，感到震驚，因為事實也是野蠻。 卡薩齊在柏林電影節(jié)上發(fā)表講話時說，他的電影《風暴之地》所發(fā)生的事件中實際發(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觀眾說：“如果我講真實的故事……那么謀殺的動機就是嫉妒，而不是社會上的這種恐同心理?！?他說，他想證明這個當?shù)厝嗽谝粋€深信宗教的鄉(xiāng)村環(huán)境中成長，發(fā)現(xiàn)他被男人吸引了，“沒有一套應對這種同性戀恐懼癥的工具，這實際上是謀殺的動機” 。 自從李安（Ang Lee）2004年經典的同性戀牛仔電影《斷背山》（Brokeback Mountain），甚至更早的法國電影《 La Cage Aux Folles》問世以來，以同性戀為主題的電影和角色已經越來越成為主流。 但是第64屆柏林國際電影節(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中，如何對待這個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。與另一個女人的脖子產生敵意，有時甚至是暴力。 在柏林上映的美國導演艾拉·薩克斯（Ira Sachs）的《愛情很奇怪》中，有兩個戀愛關系已經有40年歷史的男人利用自由化的法律結婚，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)布會上說，這部電影與同性戀和同性婚姻無關，因為它是對“像我一樣的老舊婚姻”的研究。 利思高說：“彼此承諾40年的人不應只是因為他們處于同性婚姻而完全不同。”薩克斯和利思高說，這部電影的目的不是要代表同性-性婚姻，但利思高說，他希望能在俄羅斯看到這種婚姻。他沒有舉任何名字，但對此毫無疑問。 他說：“歐洲有一個主要國家代表同性戀生活方式進行宣傳。我認為我們的電影根本不是宣傳。我認為這是真實的生活。” 苛刻的經銷商 對于切薩奇（Csaszi）的《維哈薩羅克（Viharsarok）》以及菲律賓電影《 Unfriend》中的角色而言，“現(xiàn)實生活”更為殘酷，有時甚至是致命的。并揭示了被保護的嫉妒的秘密。 主角15歲的大衛(wèi)在網絡世界中處于“外出”狀態(tài)，但與他住在一起的非常天主教的祖母卻一無所知。在他出去購買互聯(lián)網信用的場景中，有兩個小男孩跟隨大衛(wèi)，稱他為“同性戀”嘲弄他。 電影導演何塞利托·阿塔雷霍斯（Joselito Altarejos）告訴路透社記者：“互聯(lián)網改變了同性戀者在社會中的導航方式，但它也將我們推向了一邊，因為我們在互聯(lián)網中，在那里我們更加安全。” 同時，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，足球運動員Szabolcs，在德國俱樂部遭到慘敗之后，回到了已故祖父在鄉(xiāng)下的廢棄農場。 起初他與當?shù)厥嘲⒙〉南嘤霰ＷC了健康的關系，但是當足球俱樂部的成員也想起薩博爾奇時，他的遭遇就變酸了。 隨著Szabolcs和Aron的性取向逐漸消失，他們都被這個小村莊里每個人都信奉教堂的小村莊的當?shù)厝藲蚝团懦狻? 30歲的烏爾里希·奧爾特利布（Ulrich Ortlieb）為漢堡的一個電影節(jié)工作，他說：“我認為我們的容忍度在不同國家之間確實有不同的發(fā)展”。 “當他們告訴我真實的故事比他們在電影中向我們展示的真實故事要重得多時，我當時想，'好吧，在匈牙利，情況甚至更糟'。 －分割線－

翻譯為機翻，有個別翻譯不當之處麻煩指出，謝謝

無一例外，我很偏愛冷色調。

剛開始時覺得就是一般的電影情節(jié)，男主自我認同，掙扎，最后和愛人在一起，然后就是Happy Ending。但是看到最后，我看到的卻是這個世界。

這個世界有多少人愛你，就會有多少人討厭你。

看過上帝之國對于愛情的美好，看過請以你的名字拒呼喚我的遺憾，看過夏威夷里面的曖昧，還是得看看現(xiàn)實里的殘忍。

我們面對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)的第一刻我變覺得無比熟悉，看完了我才想起是誰。性格很像，態(tài)度很像，最后，我突然想起我們是怎么分開的。我那個時候還沒有完全自我認同，我還是在在意別人的眼光。也對于愛情抱著絕對的幻想。容不得一點瑕疵。

最后的最后，我殺掉了自己，認識自己，明白自己。

縱情聲色，就準備好接受代價。

無懼風言，愛你所愛