第7屆#法羅島電影節(jié)#主競賽單元第1個放映日為大家?guī)怼栋嗽碌啮L魚》，下面為大家?guī)砬熬€慵懶閑人們恬靜淡雅的評價了！

夕顏：

老氣橫秋。

不是兔槽：

激情和真理，我們有此足矣。

Pincent：

浮生若夢，人生理想住所之一。

貞潔烈女：

看哭了，演的太好了加上主題太貼我心了。

Her Majesty：

一個人老了，等待死亡就像等待八月的鯨魚。

零星無名：

春去冬來，我們終于在最后把回憶編成了童話。

曲有誤：

照片會褪色，故人不復(fù)見，有的只是一起攜手走下去。

果樹：

稍有懷疑全片的創(chuàng)作動機，因為看到幾位老齡女神的賣力，我只能感覺到尬，而非感動。

麻雀：

老年的靜默時光，在存有對生活的尊重中，回憶過去與直面死亡的碎語在夏天的溫潤里悄悄淌過。

曉風(fēng)與你殘月：

老去的時光其實就跟這部影片一樣，平平淡淡、了無波瀾。不再用思考未來，只用同過去以及現(xiàn)在和解，磨去棱角和鋒芒，才發(fā)現(xiàn)擁有的只有彼此而已。只是，這樣的影片對于現(xiàn)階段的我們來說，毫無意義也更無存在的價值。

我略知她一二：

星空流轉(zhuǎn)的念頭像水母的飄蕩，而我并不孤單，沒有你才孤單，水光彌漫在防腐的哀傷里，像鯨魚被淹沒一樣不作響，四季就是那四面白墻，寂寞是濃霧的暗光，空心磚在胸膛正中央發(fā)燙，那是彼此真空的地方。鯨魚失去海洋，我失去夢里的心臟，要拿什么補償，都一樣被慢慢的蓋上，然后一起重返兒時的夢鄉(xiāng)。

了卻煙硝：

本屆電影節(jié)觀看的第一部影片便是這樣一部情節(jié)平淡、直擊老年人生活的慢節(jié)奏電影，你不可否認(rèn)的是影片確實想反應(yīng)一些什么東西，但是還是過于古板和無聊了些。

主要情節(jié)就發(fā)生在這個海邊小屋的兩天的時間里，沒有什么太大的矛盾凸顯，就算有也只是爭執(zhí)幾句之后就和好的小拌嘴，對于看慣了節(jié)奏緊密的電影的我而言確實催眠了些，不過一眾老年演員“老驥伏櫪，志在千里”，依然貢獻出了精彩的演出。

有人吐槽“鯨魚”這個意象根本就沒出現(xiàn)，其實“鯨魚”哪里就一定是指“鯨魚”啊，我覺得，它指的更是電影中主人公們對美好生活的寄托吧。

#FIFF7#DAY1的主競賽場刊評分稍后會在廣播中為大家釋出，請大家拭目以待了。

For any cinephile, thrills and veneration aplenty can be elicited from the sole banner“a movie starring Bette Davis and Lillian Gish”, to say nothing of THE WHALES OF AUGUST is both celluloid doyennes’ (quasi) swan song (Davis’ penultimate, and Lillian’s last film), plus in a lesser extent, it also features a fine Vincent Price in his twilight years and bookends veteran entertainer Ann Sothern’s six-decade long career (and surprisingly, it is she who is given an Oscar nomination for a rather prosaic impression, which only precipitates one’s reckoning it is a token validation of the film per se and her hitherto unheralded track record), lastly, it is the final theatrical feature of director Lindsay Anderson, the high priest of British New Wave.

It is only logical that THE WHALES OF AUGUST is an elegiac piece of work cogitating and reminiscing about time, mortality, past glory and reconciliation, two elderly widow sisters, Sarah (Gish) diligently attends to her blind, elder sister Libby (Davis) in theirseaward abode on Maine’s Cliff Island (In reality Gish was 93, 15-years senior of a 78-year-young Davis), while Libbyhas become ever so bitter and disagreeable to live with, Sarah is tempted to slough off the heavy burden and sell their house, encouraged by their common lifelong friend Tisha (Sothern), but after a visit from and sequentially a dinner with Nicholas Maranov (Price, still a handsome specimen of chivalry and proprieties, impeccably leaves a trace of hurt that otherwise, is beautifully hidden underneath his inscrutable facade), an old-money Russian expatriate who is forced to find a new lodging by his landlady’s sudden departure, the next morning, Sarah finds a new take on her and her sister’s status quo.

The sibling spat is endearingly a riff onWHAT EVER HAPPENED TO BABY JANE? 25 years earlier, but here, there is no vendetta in their history, only two sisters, living their autumn days, one is comparatively agile, buoyant, has learnt to be philosophical towards loss and oblivion, but also adheres to the carpe diem motto, whereas the other is deviled by her unsighted affliction and senility, trying very hard to be the devil’s advocate just to upheld her fragile dignity. It surely arouses strong pathos to see these two legends carry their lines strenuously and retain their poise with discernible effort (especially Ms. Davis for her stroke-impaired articulation and gaunt physiognomy), as if they also realize this is the curtain call, Gish takes her time sedately and handles every movement in minute nicety, in contrast to Davis' unvanquished spirit, who still aspires to hold court whenever the camera is on her, these two performances are sterling précis of their equally distinguished but radically disparate lasting screen images. But in the end of the day, it is Gish’s ingrain benevolence and cordial affection purveys us the ammunition of admiration and wistful nostalgia in this case.

From its daguerreotype-tinged opening to its repurposed finish, Anderson’s paean to dotage and all its trimmings is a rare bird belongs to a type of cinema endeavor neither beautifies or sentimentalizes its raw-nerve-touching subject matter, for all its banal simplicity and understated emotion, THE WHALES OF AUGUST is a miraculous entity even just for its own existence.

referential points: Anderson’s THIS SPORTING LIFE (1963, 8.2/10); Peter Masterson’s THE TRIP TO BOUNTIFUL (1985, 6.9/10); Robert Aldrich’s WHAT EVER HAPPENED TO BABY JANE? (1962, 8.2/10).

豆瓣上的圖片完全成為了我看這部電影的一大原因，看看奶奶紅色的毛衣配上黃色的波點裙，另一位奶奶銀白的頭發(fā)，在閃耀的藍(lán)色大海襯托下，真的非常美好，漂亮。

紅色的毛衣與黃色的連衣裙

閃耀的大海

它似乎有點慢，敘事非常平緩，故事背景一點不花，就在海邊一座房子附近打轉(zhuǎn)，還有作為一個意向我們從未看到過的鯨魚與picture window（不知道中文翻譯過來是啥），鋪述了老年倆姐妹之間的生活。白發(fā)奶奶的形象塑造非常真實豐滿，shes a buzz killer，有點煩人，小小的惡毒，同時又非常沒有安全感。劇本完美地搭建出前因后果，但場景又只在這幢房子附近。當(dāng)我覺得它慢的時候，也許這是現(xiàn)在劇情類型的片子時常會讓人感到的，它讓我想到，也許這類電影的存在就是為了提醒我，電影，本身也可以是用來慢慢進行敘事的。不一定要宏大的背景，偉大的主題，不需要超級英雄，給過度娛樂的我們帶來新的刺激，它的目的就是講一個故事。

影片結(jié)束兩位奶奶站在海邊

沒有看演員表的時候，我還不知道原來兩位奶奶都是非常了不起的演員（聽白發(fā)奶奶的聲音有點耳熟看了之后才知道原來是彗星美人的女主角）

beautiful view

beautiful view

beautiful view