Love stories must be clichés, like all stories—because our ancestors exhausted all possibilities, even if we could switch the genders of one of them today. The rest depends on how these stories are told.
Looking at it, I found that I really like the way the story is told in this movie. The macro view is simple enough: there is only one protagonist (Adele) and only one clue (namely, the title, Adele's life). Strictly speaking, this is a story from a first-person perspective. The protagonist is present in almost every scene. Basically, the audience cannot see or hear the things she can't see or hear. This kind of macro simplicity achieves micro delicacy - it gives me enough space to follow the protagonist's emotions and feel her subtle emotional changes. Of course Emma has a lot of roles too, but that's only because she's so important in Adele's life. Emma is of course also a full-bodied character, probably with more complex emotions than Adele, because she was also created by some god (director/writer) for some purpose. But since I'm so naturally behind Adele's eyes, I can't simultaneously grasp the character from God's perspective, and I don't need to. Like Adele, I can't always know what Emma is thinking - and the director probably doesn't want me to. In short, the French title, although more unpretentious, is an apt summary in terms of the form of the film.
In addition, the performance of Adele (why the actor is also called this name) is not mentioned, especially the reunion scene in the quarrel and the cafe, which is full of fun.
Although I still can't stand them talking about literature, art and philosophy like the stereotyped French (as Adele put it, "Your upbringing makes me uncomfortable"), although I I don't like the excessively deliberate pursuit of metaphors and echoes in individual lines. Although the story itself is not enough to impress me, in general, I quite like this movie, even if the sex scene is not long enough, it's worth it - anyway, a movie of 110 yuan I didn't buy the ticket.
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