五恶魔

搬运保存：

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

搜了好久，蓦然回首歌单就在Spotify，感谢互联网。

年度最佳music supervisor电影。

（虽然对用繁衍/后代来challenge同性恋有点一言难尽）

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

从电影一开始我就知道我应该会喜欢它。长镜头下的自然风光，vicky对母亲那种微妙的依恋（不过真的没有恋母情结吗？）。

嗅觉的线索让我莫名想起了以女性凝视为主题的烧女图。《烧女图》里二人充满爱意的对视，使得她们忘却了一切枷锁与燃烧的裙摆，《五恶魔》里乔安娜无数次想跳下深渊拯救她的爱人，亲吻的时候她说我会帮你，在小树林里她说我们一起逃出小镇，大火前她也毅然决然回头看向爱人。

不过嗅觉在此如果仅是“穿越的契机”好像有些可惜。很喜欢一些影评对嗅觉的解读。我觉得嗅觉上的熟悉感似乎更为熟悉，不仅仅是女儿对母亲的依恋，也应当是女主对过往爱恋、甚至对曾经那个生动的自己的怀念。一种身体本能的、潜意识里的冲动。

好喜欢整部电影的氛围。法国北部小镇，雪山下湖泊边，燃烧的篝火，后青春期的诗。虽然还是欧美故事中常见的那种由性、酗酒组成的青春，不过居然和真爱不矛盾。ktv那段狠狠代入了，跑了的音调，难以抑制的爱意，turn around, every now and then i get a little bit lonely.你不知道你走了之后我有多孤独。

整部电影中女主和整座小城一样了无生气，对女儿的爱看上去也是责任大于本真的爱？唯独插叙中的青春期片段、和爱人在厨房甩章鱼、喝醉后拉着前女友唱歌的片段有过发自内心的笑容。

美中不足的是结尾，好莫名其妙的和解。短短九十分手夹杂了太多意义：同性恋、同夫、移民、种族、家庭伦理……不过意外地没有堆砌之嫌。n角恋倒也不招人讨厌。

荒谬当道，爱拯救之。

说实话看完挺喜欢的，但是看不懂的地方也确实看不懂…

为什么叫五恶魔？哪里有恶魔👿？

瓶子哪里来的？Julia不知道瓶子的存在吗？知道的话不知道它丢了吗？Julia提到什么纳米什么技术，瓶子是她现在工作的产品？那她不知道作用吗？

妈妈是怎么把Jimmy抢走的？Jimmy不是一直喜欢毁容姐吗？毁容以后也喜欢，还doi了呢…如果是因为Julia放火才结的婚，那不更应该娶毁容姐吗？？？

结尾的小女孩是谁？我倾向于闻到瓶子的当下发生穿越，所以应该是从未来穿越回来的，那么只能是Vicky再大一些or谁的下一代

还有好些设定太巧合了，铺垫的太刻意了，没有必要

电影整体节奏和设定还蛮喜欢的

看了一些評論~似乎都沒說到重點~結尾出現的小女孩就是女主女兒的姑姑~這個家族并不是只有那個女兒發現了回到過去的秘密~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~女兒出現就意味着和情人最終沒能在一起~想放棄又難以割捨·姑姑的能力已經不只是回到過去~還可以看到未來~她看到女孩為什麼不告訴情人看到的是誰~這就說明她知道是情人的女兒~自己的侄女~姑姑小的時候就看到了一切~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~是因為她奪走了自己的所愛~但也不能恨侄女~那是自己的親人~內心非常矛盾和糾結~而最後一幕~爸爸抱著女兒快樂的玩耍~姑姑小的時候就已經看到了~最終女兒希望姑姑活着~父親的悲傷也被女兒的愛所拯救~兩個人都放手讓媽媽和姑姑追求幸福~算是圓滿的結局吧~

“在我不存在之前你爱我吗？” 是只能被Julia看到的那个之前吗 那恐怕回答不会是Always/我理想的爱情是超过亲情友情的 但就只能仅仅是理想

几个问题：

Vicky绝顶的嗅觉有什么用吗？

Julia为什么认不出Vicky？

：我想或者Julia是看到贺卡才选择回来找Joanne的吗（贺卡照片上有Vicky？

Joanne为什么游泳？

Joanne怎么抢走Jimmy的？他俩到底为啥在一起？(°_°)

：Joanne是被追求的吧 感觉Jimmy是喜欢Joanne的 至于Jimmy跟脸脸为啥do 应该是Jimmy太累了？

Jimmy最初在消防站上班的镜头有什么玄机吗？

Vicky怎么知道Julia在湖边？

最后的小女孩是谁？

：我的猜想 或许Vicky收集了那么多妈妈的味道 并不是因为什么嗅觉 或许她跟Julia的身份一样 那可能她也有一个小女孩儿 /循环了

……

镜头都很好看 配乐也都蛮好的 片尾的歌好喜欢 尝试了q音和☁️都搜不到(;_;) 看完觉得故事很真

Slashfilm记者Lex Briscuso采访演员阿黛尔、导演蕾雅·梅西斯、共同编剧保罗·圭哈姆。

关于电影的主题、片名的意义、演员的选择、表演的感受、对观众的期望。

原文链接：Slashfilm

截取部分问题，以下是采访原文：

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.

阿黛尔: 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.