*The original text was published on "24th Floor Cinema" on the Southern Weekend website. I believe that many people after watching "Adele's Life" can't help thinking in their minds: What a great story! Beautiful encounters, fiery desires, violent breakups, heartbreaking endings. The three-hour film is like running clouds and flowing water, from the beginning to the last second, it deeply locks the hearts of the viewers, making people excited, intoxicated, shocked, and sighed! The film is based on the love of two teenage girls, and the bold sex scene creates a strong visual impact, but it is essentially a story about first love, about unbearable, pure love. On the day that high school girl Adele and her male classmate Thomas are dating, they pass by Emma, a college girl studying art, on the street and are attracted to each other, and even make them the object of erotic imagination in their dreams at night. Unable to accept that she likes women, Adele tries her best to have sex with the opposite sex, but she ends up dying. Then, her attempt at same-sex love on a female classmate who had kissed her was unexpectedly rejected by the other. Confused and distressed, Adele and Emma meet again at the bar, and the two have a fiery spark and develop a passionate and lustful love. With the passage of time and the fading of passion, Adele could not integrate into Emma's spiritual world and life class, and betrayed Emma because of loneliness, Emma kicked her out of the house and resolutely gave up their love. Over the years, Emma started a new family life, leaving Adele's unforgettable sorrow for her first love. This is the fifth feature film of the French director Aboudai Cochic, who has always maintained a high level of creative ability. was only 19 years old at the time of this work). In the original book, Adele (named Clementine in the comics) and Emma's differences in their homosexual self-identification led to their split. In the film, the director (and screenwriter) brought the issue of homosexual self-identity into a broader social perspective, attributed the essential reason why Adele and Emma could not continue to love each other to the difference of social class, and used the A variety of representations and plot arrangements have successfully constructed this idea. Adele comes from a very traditional and practical family of ordinary citizens. The director interestingly hints at the family's character with "spaghetti". At the beginning of the film, there is a scene where the family eats "spaghetti" while watching TV, and several close-up shots of the mouth chewing, showing an ordinary family life with a relatively high proportion of "materiality"; Emma goes to Adele. When the Er family was a guest, they also ate "spaghetti", and Adele's parents were very concerned about the issues. In reality, such as whether Emma can make a living by painting and what her boyfriend does, etc. A few years later, at a party for Emma's friends, Adele, who became a housewife, brought out "spaghetti"—— The continuation of the material life of ordinary citizens' families. In contrast, Emma's family presents a completely different outlook: a strong artistic atmosphere, open emotional concepts, her mother is an art lover, and her stepfather is a man who turns food into a life culture; Dale showed her heartfelt joy at the arrival of Emma's girlfriend, and the topic of chat was more metaphysical, focusing on understanding Adele's thoughts. It is true that both families have their own happiness and warmth. The openness of Emma's parents gave her a very relaxed environment for artistic creation and self-pursuit, and Adele's parents also worked hard to give her family warmth (such as holding an eighteenth birthday party for her, etc.). But the class difference between the two families is essential. Emma comes from an elite class with a more cultural voice, while Adele belongs to the ordinary citizen class. This class difference gradually formed an insurmountable gap in the long-term relationship between the two. First, class differences lead to huge differences in Adele and Emma's self-identification of homosexuality. The elites are obviously more open to homosexuality, and homosexuals have a stronger sense of self-identity. (For example, in Paris, France, homosexuality is concentrated among the elegant and wealthy.) Emma's self-recognition process is natural, and she realizes that she likes women through her interactions with friends of different genders. She is very clear and confident about her sexual orientation. It is in this identity that she lives, socializes with friends, and has her own circle and career. On the contrary, influenced by the values of ordinary bourgeoisie, Adele has identity anxiety from beginning to end. Her coming out was a struggle (she refused to admit she was gay amid questions from her classmates), with confusion and tears. The first time she woke up from a dream of having sex with Emma she cried, she cried when she found out she really didn't like men after having sex with Thomas, and she cried when she tried to have an intimate relationship with a female classmate and was rejected. While she was ultimately irresistibly attracted to Emma and started a new life with her, her identity anxiety as a gay was never resolved. Essentially, she couldn't accept that she was gay, so she closed herself up. Apart from being with Emma, she maintained a "normal" heterosexual identity in society and at work. This kind of psychological conflict made her choose a man (rather than a woman) as the derailment object to relieve her inner loneliness when facing the emotional crisis with Emma. - It seems that the so-called "positive "Chang" can bring her some relief. Secondly, class differences also affect the spiritual communication between Adele and Emma. Adele, who is from the ordinary citizen class, has simple and practical ideas. She hopes to engage in education, is Because she believes that teaching is a stable and reliable profession. Although she also likes literature, literature is a very personal experience for her, and she does not want to show her thoughts to others through writing. Emma is completely different. For her, it is not only a hobby, but also an important way of self-interaction with society. She likes to express, longs to express, and devotes herself to showing her life, love, and even sex through painting—the elites have more A strong desire for self-expression and understanding. The entire love process of Adele and Emma is full of physical desire. When this desire is very strong, it covers up the lack of spiritual communication between the two. (Adele's on painting Little is known, other than "Picasso" or "Picasso", and basically at a loss for Sartre's existentialism that Emma is talking about.) Instinct mutual attraction allows two completely different people to indulge in love, but long-term The relationship and life together require more spiritual communication. After the passion fades, Emma tries to bring Adele closer to her class. She repeatedly suggests that she should engage in writing, but Adele resists it. For example, being able to be intimate with Emma was enough; Emma clearly felt that it was not enough, she needed Adele to be closer to her on a spiritual level. The breakup was heart-wrenching and cruel, cruel Not only did Emma drive Adele out of the house so decisively (physical betrayal was unforgivable to Emma), but Emma had already betrayed Adele spiritually and chose to belong to the same class as herself. The Lisa who "also paints". Adele tries to use the memory of flesh and desire to win back Emma's heart, but Emma no longer loves her at this time. Although the film is very avant-garde in form, for Lesbian sex is shown in a very direct way (by the way, it's so beautiful that it doesn't feel uncomfortable at all), and what the director wants to express is actually a social issue of universal significance. He tries to pass the two girls The unforgettable love between him conveys his concern about the differences between social classes in France. Behind the class differences are cultural differences and differences in the spiritual world. Bourdieu said: "Family origin and educational background are personal cultural capital. The main source is the main factor that causes people's cultural aesthetic tastes to be separated. "This difference is essential and fundamentally affects how people relate to each other, sometimes even depriving people of their right to love. In Adele's Life, it is this Class differences destroy Adele's first love and the love between her and Emma. The storyline of the film is actually very simple, as real as any first love story (whether gay or straight) that happens around us. The narrative level of the story itself is first-class, impressing the audience with a very pure emotional force, and these profound humanistic thinking and problem exploration behind the film strengthen the tension of the story and enrich the connotation of the story. (In comparison, the similar theme film "Sweet 18" in mainland China appears immature, with intricate character relationships and slightly messy story lines, which suppress the development of the emotional mainline of the two heroines, so that the characters do not have strong persuasion may be out of a sense of pity or fear that the audience would not be able to accept the fact that Emma no longer loves Adele, the director did not adopt the end of the comic (Clementine passed away), and did not let the two Strange from now on. At the end of the film, Adele is invited to visit Emma's art exhibition, where she witnesses Emma and Lisa's closeness and sad departure. And Emma's invitation, and her conscious or unintentional gaze, seemed to express a hope that Adele would not fade out of her life forever. At the same time, this also implanted a question in the audience's mind: Is the power of love enough to conquer everything? No one knows where Adele's life will go, but her pure affection for Emma will remain in our hearts forever. Her sad blue back when she leaves (the blue that is everywhere in the film) reminds me of a line Janet Winterson wrote in Passion: If you leave me, my The heart will turn into a river flowing into the distance. Seeing the closeness of Emma and Lisa, she left sadly. And Emma's invitation, and her conscious or unintentional gaze, seemed to express a hope that Adele would not fade out of her life forever. At the same time, this also implanted a question in the audience's mind: Is the power of love enough to conquer everything? No one knows where Adele's life will go, but her pure affection for Emma will remain in our hearts forever. The sad blue back of her departure (the ubiquitous blue in the film) reminds me of a line Janet Winterson wrote in Passion: If you leave me, my The heart will turn into a river flowing into the distance. Seeing the closeness of Emma and Lisa, she left sadly. And Emma's invitation, and her conscious or unintentional gaze, seemed to express a hope that Adele would not fade out of her life forever. At the same time, this also implanted a question in the audience's mind: Is the power of love enough to conquer everything? No one knows where Adele's life will go, but her pure affection for Emma will remain in our hearts forever. The sad blue back of her departure (the ubiquitous blue in the film) reminds me of a line Janet Winterson wrote in Passion: If you leave me, my The heart will turn into a river flowing into the distance.
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