It was Hirokazu Kore-eda's first work after he won the Palme d'Or, his first overseas production, and his most relaxing one. The score is not very high, but I like it, I like the ease. Fabien "I'm an actress! I'm never going to write the naked truth, it's not funny at all." Fabien, played by Catherine Deneuve, is a famous actress who is selfish, dominant, narcissistic, and vicious. , like a witch with a spell in the eyes of a child. Her forthcoming autobiography is not her real self, but her acted self. In the book, she whitewashed her relationship with her daughter, erased the traces of her friend Sarah who died early, and didn't even mention Luke, the assistant who accompanied him for more than 40 years, which made Luke sadly retire and return to his hometown. As Rashomon's classic line: People are too vulnerable to lie, even to themselves. Fabian's vulnerability lies in her lifelong pursuit of being the best actress, which she understands the whole meaning of life. She confuses fiction with reality. She can only perform, not life. She is afraid that her acting skills will be surpassed by others, and she is afraid of aging. In order to be the best, she used unspoken rules to steal the role of her friend Sarah (also a famous actress). Now, she knows very well about the heroine Manon, who is called "New Generation Sarah" in the crew. Excellent, but always belittling in the mouth (for actresses who are not so good, it will be much kinder). When I finally opened my heart and reconciled with my daughter, I could still think of why I didn't bring this emotion to the last scene. She admitted, "In order to be a good actor, I am a bad mother and a bad friend. Maybe you can't forgive me, but the public has forgiven me." She also defended herself, "Perfunctory kindness hurts more than poisonous tongue." Loumir, played by Juliette Binoche, ran from the United States to France with her husband and daughter, nominally to celebrate the publication of her mother's autobiography, but actually wanted to see what she had made up for the first time. The lack of mother's love is Lumire's heart disease since childhood. She loves Sarah, who took care of her when she was a child, and blames Fabian for Sarah's death. The film uses the setting of the play in the play. In the new film that Fabien is shooting, Manon plays a mother who lives in space and never grows old. She only comes back to earth once every seven years to meet her daughter Amy, three scenes. , Amy is 17 years old, 38 years old, 73 years old. Fabian plays the 73-year-old Amy, who will say goodbye to her mother soon after her death, which is the highlight of the play. Lumire watched with tears in her eyes as she projected herself onto Amy. She has not been cared for since she was a child, and even her self-confidence was hurt by her mother's disapproval. Lumir was strongly dissatisfied with her mother's long-term alienation and even resentment, but she still cared about her mother and yearned for it. Disputes endlessly, but still accompany the mother who can't take care of herself to the movies During the filming, he wrote "confessions" for his mother to help her save Luke. The first climax scene was the reconciliation between mother and daughter. At that moment, when he learned that his mother actually cared about him, and even felt jealous of Sarah because of him, Lumir plunged into his mother's arms, "I approached Forgive you." The second climax came from Lumir's "little revenge", the granddaughter ran to Fabien and said, "I want you to go to space", "Why?" Fabian was surprised, "So you can see me become An Actor's Day", which moved Fabien to the core. In fact, this is a small script that Lumire, who is a screenwriter, asked his daughter to act. The supporting cast liked Hiro-eda's accurate analysis of the human heart as a scalpel, and also liked the rhythm he laid out slowly. It's like making a painting, starting with just a few skeletons, then adding strokes, coloring, and filling it up little by little. Several supporting roles are also very playful. Lumir's father suddenly appeared and suddenly disappeared, as if he had transformed into the giant tortoise in the garden. The actress who played the 38-year-old Amy, used the sadness of losing her pet dog in reality to complete a good performance. There is a scene where she sits with Fabien, and Lumire and Manon sit together. The words are like two misplaced words. to mother and daughter. Ethan Hawke's Lumire's husband, a second-rate TV actor, also has a history of drinking, but loves his wife and daughter. He knew that Lumire brought him here to show off to his mother, who had a complicated private life, that he had a happy home, but "you can't win her with this" (Fabian, who was dining alone in the restaurant, told us with his lonely eyes, Not necessarily). Lumire commented on her husband: "He is a better husband than an actor." There's already a good actress mother, and that's all Lumire needs. Fabian's current boyfriend is the most inconspicuous character. "Compared to his partner, he is a good cook." "Truth" is full of intertextuality between truth and performance. Then again, truth is always relative, and memory is not reliable. Lumire found the set much smaller than he remembered as a child. Whether Sarah's death was an accident or a blow from her loss of character, we don't know which of Fabian's and Lumir's memories is the truth. We don't need 100% truth either, just as Lumir exposed Luke, "Actually, you never wanted to leave"; it's also like when the daughter asked her mother after the little play, "Is that (line) true? ?", a meaningful smile on Lumir's face. At the end, mother and daughter reconciled, Luke returned, Fabien gave Sarah's beloved dress to Manon, and decided to use the mother-daughter emotion she felt in reality Remake the last scene. This is not how much the story has changed from An Lumir itself, she is still her, the truth that everyone thinks will always be the one they want, but breaking the hard shell of the performance a little bit will make the emotions less frozen. . As a third-country audience, I don't care whether the appearance is not French enough, the inside is very Japanese, and whether the film is "unacceptable" because of this. This is the most comfortable movie I've watched this year. The characters are interesting, the lines are sharp, and the performance is wonderful. Just like Lumire's husband, who doesn't speak French, he can still lubricate the audience among the French. Humanity has something in common. 2020.8.25 North Film Festival'
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