“在我不存在之前你愛(ài)我嗎？” 是只能被Julia看到的那個(gè)之前嗎 那恐怕回答不會(huì)是Always/我理想的愛(ài)情是超過(guò)親情友情的 但就只能僅僅是理想

幾個(gè)問(wèn)題：

Vicky絕頂?shù)男嵊X(jué)有什么用嗎？

Julia為什么認(rèn)不出Vicky？

：我想或者Julia是看到賀卡才選擇回來(lái)找Joanne的嗎（賀卡照片上有Vicky？

Joanne為什么游泳？

Joanne怎么搶走Jimmy的？他倆到底為啥在一起？(°_°)

：Joanne是被追求的吧 感覺(jué)Jimmy是喜歡Joanne的 至于Jimmy跟臉臉為啥do 應(yīng)該是Jimmy太累了？

Jimmy最初在消防站上班的鏡頭有什么玄機(jī)嗎？

Vicky怎么知道Julia在湖邊？

最后的小女孩是誰(shuí)？

：我的猜想 或許Vicky收集了那么多媽媽的味道 并不是因?yàn)槭裁葱嵊X(jué) 或許她跟Julia的身份一樣 那可能她也有一個(gè)小女孩兒 /循環(huán)了

……

鏡頭都很好看 配樂(lè)也都蠻好的 片尾的歌好喜歡 嘗試了q音和??都搜不到(;_;) 看完覺(jué)得故事很真

搬運(yùn)保存：

Source：//open.spotify.com/playlist/5ve2IBlhCMmfYChztkpwEw?si=aceb870c097343a9

搜了好久，驀然回首歌單就在Spotify，感謝互聯(lián)網(wǎng)。

年度最佳music supervisor電影。

（雖然對(duì)用繁衍/后代來(lái)challenge同性戀有點(diǎn)一言難盡）

網(wǎng)易云：//y.music.163.com/m/playlist?app_version=8.8.20&id=7603524761&userid=118661&dlt=0846&creatorId=118661

《五惡魔》。9分。

蕾亞·梅西斯編劇、導(dǎo)演，阿黛爾·艾克薩勒霍布洛斯、達(dá)芙妮·帕塔基亞主演作品。

這應(yīng)該是我看過(guò)的所有片子中最不同的一部，它給我?guī)?lái)的觸動(dòng)幾乎不亞于過(guò)去任何一部作品。

小女孩維琪極其崇拜和迷戀自己的母親喬安妮，母親是個(gè)游泳教練，業(yè)務(wù)愛(ài)好就是喜歡去阿爾卑斯山腳下的湖里冬泳。維琪還有一種特殊的能力，她能通過(guò)收集親人身上的氣味從而進(jìn)入他們過(guò)去的生活。非常奇幻。

這種如湖面一樣寧?kù)o的生活被姑姑茱莉亞的到來(lái)打破，她剛剛出獄并接受治療回來(lái)。

維琪收集姑姑的氣味，進(jìn)入了她過(guò)去的生活。她看到了令她無(wú)比震驚的過(guò)去——原來(lái)媽媽和姑姑才是真正的親密愛(ài)人。

那么，如果不是因?yàn)榘l(fā)生了什么變故？這個(gè)世界上怎么會(huì)有維琪的存在呢？

而更神奇的是，當(dāng)維琪進(jìn)入姑姑過(guò)去的生活時(shí)，姑姑其實(shí)也可以看到她？

這真是個(gè)神奇的故事，尤其是片尾，它令我驚愕，也終于知道為什么片名要譯為《五惡魔》？

說(shuō)實(shí)話看完挺喜歡的，但是看不懂的地方也確實(shí)看不懂…

為什么叫五惡魔？哪里有惡魔??？

瓶子哪里來(lái)的？Julia不知道瓶子的存在嗎？知道的話不知道它丟了嗎？Julia提到什么納米什么技術(shù)，瓶子是她現(xiàn)在工作的產(chǎn)品？那她不知道作用嗎？

媽媽是怎么把Jimmy搶走的？Jimmy不是一直喜歡毀容姐嗎？毀容以后也喜歡，還doi了呢…如果是因?yàn)镴ulia放火才結(jié)的婚，那不更應(yīng)該娶毀容姐嗎？？？

結(jié)尾的小女孩是誰(shuí)？我傾向于聞到瓶子的當(dāng)下發(fā)生穿越，所以應(yīng)該是從未來(lái)穿越回來(lái)的，那么只能是Vicky再大一些or誰(shuí)的下一代

還有好些設(shè)定太巧合了，鋪墊的太刻意了，沒(méi)有必要

電影整體節(jié)奏和設(shè)定還蠻喜歡的

Slashfilm記者Lex Briscuso采訪演員阿黛爾、導(dǎo)演蕾雅·梅西斯、共同編劇保羅·圭哈姆。

關(guān)于電影的主題、片名的意義、演員的選擇、表演的感受、對(duì)觀眾的期望。

原文鏈接：Slashfilm

截取部分問(wèn)題，以下是采訪原文：

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.

阿黛爾: 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.

看了一些評(píng)論~似乎都沒(méi)說(shuō)到重點(diǎn)~結(jié)尾出現(xiàn)的小女孩就是女主女兒的姑姑~這個(gè)家族并不是只有那個(gè)女兒發(fā)現(xiàn)了回到過(guò)去的秘密~姑姑看到女主女兒很害怕的原因就是~知道自己不可能和女孩母親在一起了~女兒出現(xiàn)就意味著和情人最終沒(méi)能在一起~想放棄又難以割捨·姑姑的能力已經(jīng)不只是回到過(guò)去~還可以看到未來(lái)~她看到女孩為什麼不告訴情人看到的是誰(shuí)~這就說(shuō)明她知道是情人的女兒~自己的侄女~姑姑小的時(shí)候就看到了一切~卻不能改變~畢竟是自己的侄女~改變一切等於殺了侄女~姑姑不喜歡侄女~是因?yàn)樗龏Z走了自己的所愛(ài)~但也不能恨侄女~那是自己的親人~內(nèi)心非常矛盾和糾結(jié)~而最後一幕~爸爸抱著女兒快樂(lè)的玩耍~姑姑小的時(shí)候就已經(jīng)看到了~最終女兒希望姑姑活著~父親的悲傷也被女兒的愛(ài)所拯救~兩個(gè)人都放手讓媽媽和姑姑追求幸福~算是圓滿的結(jié)局吧~