周雅立 Cédric JOUARIE
台灣 Taiwan | 2018 | DCP | B&W＋Color | 123min
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
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.
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.