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最後一日

The Very Last Day
導演

周雅立 Cédric JOUARIE

資訊
限18
台灣首映

台灣 Taiwan | 2018 | DCP | B&W+Color | 123min

影片介紹

知名小說家有著失衡的家庭關係,妻子的長年怨懟在他新書《一個寒冷的夏天》出版後爆發。瘋狂書迷明美出現,揭露一樁 20 年前的強暴事件;當小說成了真實人生,這究竟是誰的復仇?內容涉及暴力、虐待與性,劇場演員周姮吟、蔡佾玲大銀幕演出,法國導演周雅立援引個人成長經驗的首部長片驚世之作。《藍色蜘蛛網》式的人物糾葛配上劇場式工筆對白,影片技術手法發人省思;士農工商各司其位的驚悚片,適合口味特殊的影迷。

A best-selling writer is seduced and kidnapped by an admirer, who accuses him of raping her 20 years ago and exploiting her personal tragedy as a plot of his latest book. While the author insists that his novel is strictly a work of fiction, the erratic woman relentlessly tries to rip a confession out of him. The Very Last Day (2018) is mainly about the violation of trust, abuse and exploitation.

2019-08-27 (二) 16:40 SBC星橋國際影城 17廳 ★ 影人出席

導演
周雅立 Cédric JOUARIE
導演介紹

周雅立,法國導演,定居台灣多年。拍攝多部短片,包含《Sans Nicolas》、《Mama》、《Wish Hotel》等。曾以《三首歌》獲得 2012 年金馬創投現代電影獎。本片為其首部劇情長片,並透過募資平台籌措資金。

Cédric JOUARIE started out as a film critic and journalist for French television and continued his work after he moved to Taiwan in 2012, directing short films and short documentaries. The Very Last Day (2018) is his first directorial feature.

導演的話

少年時,我曾被最要好的朋友之繼父性侵。他是,或我曾經以為他是,一位良師益友。他同時也是一位令人尊敬的作家,相較之下我只不過是一個生長於低收入戶,由單親媽媽養大的男孩。在事件之後,我一直找不到一個能理解自己經歷的人,直到我成人都一直守著這個秘密。由於這件事難以啟齒,我試著將它寫下,每一次提筆都讓我對自己感到羞恥與噁心。實在過於痛苦,我決定退一步、將自己抽離於故事,將焦點放在主題與角色上。

這是《最後一日》的故事雛形,但那個版本太過真實、暴力且充滿憤怒。單單僅是賦予故事新的視角並不足夠,我還必須給它一些時間。經過十年的時間與無數次重寫,讓我得以與自己以及這些題材達到某種程度上的和解,並停止對角色們的批判並置入過多我的個人色彩:綁架者成為受害者,作家也是一個苦於掙扎的創造者,妻子則是個受創與背叛的女人。

最後,當我第一次和工作人員以及演員們分享這個故事時,許多人吐露了他們在劇本裡找到令自己設身處地的位置。有些人對我解釋對他們的意義,有些人則什麼都沒說。我很明白分享個人感受和自身經歷有多麼困難,所以我沒有對大家提出更多要求。然而能肯定的一點是,這對所有參與製作《最後一日》的人來說,
都是某一種程度上的私密,我永遠感激他們的付出。因為經過這麼多年後,我終於找到能理解我的靈魂了。

I was sexually assaulted by my best friend’s stepfather when I was a teenager. The man was a mentor and a friend (or so I thought). He was also a respectable novelist while I, on the other end, was just a boy from the projects, raised by my single mother. After the facts, I have failed to find an understanding soul, so I have lived with this secret for most of my adult life. Unable to speak openly about what had happened, I’ve tried to write about it, but each attempt was too painful to go through as it made me feel both shame and disgust, mostly with myself. So, instead of recounting this event in fiction form, I decided to take a few steps back and focus on the themes and characters.

This is how the first draft of “The Very Last Day” came to be. But that version was too raw, too violent, too angry. Giving it perspective wasn’t enough, I also had to give it time. Ten years’ time and almost that many rewrites, to be precise. In the original draft, the characters were more two-dimensional: the kidnapper was crazy, the writer tortured for about 60 out of 90 pages, and the wife non-existent. These 10 years allowed me to find a certain peace with myself and with the “material”, so I could stop judging the characters and feed them with aspects of my own personality: the kidnapper is now a victim as well, the writer is also a struggling creator, and the wife is a wounded and betrayed woman.

And then finally came the moment to make the film and by that, I mean sharing it first with my cast and crew. As it happens, many confided that they found in the script reasons to make it their own. Some expanded and explained to me exactly what it meant to them, some others didn’t––I am all too aware of how hard it is to share some feelings and experiences, so I didn’t press for more. One thing is for sure, it was a personal affair for all involved and I am forever grateful to them for the collective act of creation that ”The Very Last Day” has now become, for after all these years I finally found understanding souls.

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