葛洛莉亚2013

故事发生在智利首都圣地亚哥。葛洛莉亚，58岁，总是戴着一副大框近视镜，离婚10年。然而这些单调而沉闷的标签并没有阻止她对幸福生活的向往和追求。葛洛莉亚热衷于参加各种单身聚会来寻求短暂的满足感，即使每每派对结束，葛洛莉亚仍要独自一人承受更大的寂寞与空虚。直到葛洛莉亚偶然间在一次派对上结识了温文尔雅的退役海军军官鲁道夫，久违的爱欲之火在浪漫的邂逅中熊熊燃烧。二人参加迷彩射击游戏、玩蹦极当然还有甜蜜的肌肤相亲。鲁道夫一瞬间唤醒了葛洛莉亚的所有激情与欲望，她开始憧憬和鲁道夫的未来，甚至与之携手终生。然而在与鲁道夫的亲密相处中，葛洛莉亚的担忧却日益加深。终于，在一次生日宴会上，鲁道夫再次不告而别。此时的葛洛莉亚下定决心告别这段关系。

Rightly tapping into the cliché of middle-age solitude, GLORIA, the up-and-coming Chilean filmmaker Sebastián Lelio’s Golden Bear contender (rightfully won its leading actress Paulina García a coveted BEST ACTRSS gong), is a brutally honest take on our titular heroine’s stagnated status quo and her inexorable endeavor to break it.

A petit bourgeois divorcée, Gloria (García) is in her 50s and has stayed single over a decade, she has a stable office job, the relations with her grown-up children have become distant inevitably through time and she frequents a club tailoring maturer clientele to seek some new spark in her inert life, that’s where she meets Rodolfo (Hernández), a retired navy officer and a blow-in of the divorcé club. Physically, their sparkle is incandescent, by way of a daringly hardcore directness in their one-night-stand (and many intimate occasions would follow), Lelio brings home to audience that as unprepossessing as their act seems by the standard of common aesthetics, that is what sex looks like at that age: flabby flesh, furrowed face, unwieldy posture, yet, nothing can possibly take away the carnal sensation the process engenders, and granted not everyone is bestowed with that privilege in their autumn years.

That said, there is always a catch in the passion-kindled romance when it passes the initial stage of purely physical attraction towards something more personal and complicated, something is detrimental to the budding relationship. In this case and according to Rodolfo, it is his over-dependent adult daughters, but in the event, after being wantonly stiffed by him not once but twice (the first is a misstep to bring him to her son’s birthday party where her ex-husband is also present, and the second is a much more invidious hammer blow), Gloria realizes that this umbilical cord is bilateral, or even worse, insinuated by the last appearance of Rodolfo, decked and peppered by Gloria’s vengeful paintball pellets, maybe his side of the story is a total whopper, that is what one calls a superbly orchestrated open-ending eliciting a viewer's afterthought.

Through and through, Lelio levels his camera to the indefatigable Gloria, accentuates the emotional spectrum through a much trodden path, and crystallizes the cathartic moments with sublimely figurative strokes (let it be the dancing skeleton metaphor, a thinly-veiled political snapshot in the background or that precious white peacock knockout), often with optimal diegetic music choices (sometimes played lyrically through real-life musician Hugo Moraga),culminated by Umberto Tozzi’s erstwhile hit GLORIA, trenchantly hits the bull’s eye with its rousing tempo and significative pertinence, that is the damn theme song and a tribute to our heroine and gazillions of women like her in the real world, sidelined and often slighted by this ageist and sexist society, but never subjugates themselves to victimology, instead, they are absolutely faithful to what their hearts desire and never flinch back by the sporadic impediments.

Meanwhile, it is also a hard-won victory for the central players, Paulina García deserves all the acclaim she garners for a bold but minutely precise, unmannered yet immensely visceral tour-de-force, which sets a high bar for its slated USA rehash, directed by Lelio himself and starring Julianne Moore. And last but not the least, Sergio Hernández, impresses viewers with equal dedication and beguiles us with his seemingly benevolent and passionate efforts, which speaks volumes about a callous male ego, there is an abuser underneath a commoner’s camouflage, soundly punches above its weight in this emphatic feminist chord-striker.

referential point: Kleber Mendonça Filho’s AQUARIUS (2016, 8.3/10)

塞巴斯蒂安·莱里奥在我的心目中是一位非常擅长表现女性的导演。我看到他的第一部作品，是在柏林电影节上放映的《普通女人》。（「Una mujer fantástica」，翻译为「奇妙的女人」更加合适。）《普通女人》缓慢悠长，娓娓道来，她的生活就在电影院里不疾不徐地展开。那时候，我对他作品的感受是「很欧洲」。

去年的《违命》让塞巴斯蒂安·莱里奥在英国独立电影奖、伦敦影评人协会上大放光彩。而今天要跟大家分享的《葛洛莉亚》是在2013上映，一举获得了第63届柏林电影节金熊奖最佳影片提名，同时也获得了当年美国国家评论协会奖的五佳外语片奖项。有意思的是，在2013年版本的基础之上，莱里奥于2018年几乎是翻拍了一次，便有了《葛洛利亚·贝尔》这部电影（由朱利安·摩尔主演）。

《葛洛莉亚》和《葛洛利亚·贝尔》的海报

先抛开《葛洛利亚·贝尔》来说一说莱里奥的「原版」——2013年的《葛洛莉亚》。

故事发生在智利的首都圣地亚哥。故事的主人公葛洛莉亚，58岁，离婚10年：爱跳舞，经常一个人在酒吧跳舞。而葛洛莉亚的生活如一脚踏了空一般：儿子与女儿并不经常与她联系——即便是她想要主动联系或者为子女的生活提供帮助，也并未得到回馈。每日回到家中，只有一只不知道从哪里跑进屋子的野猫在等待她。隔壁邻居关于的爱恨情仇的争吵夜复一夜地伴她入眠。医生给了她的双眼一瓶药水，从此终身药不能断，于是眼镜便也一直架在她的鼻梁。

鲁道夫是她生活里的火花——她开始了新的生活，与鲁道夫开始了一场如16岁少年男女般炙热的恋爱。他们约会、一起参加射击类游戏、蹦极……葛洛莉亚对鲁道夫越是认真，她也越是担忧：鲁道夫刚刚离婚一年，与葛洛莉亚不同的是，他的孩子无比地依赖他——他的电话总在打断着他们的约会，鲁道夫甚至在约会或聚会时不辞而别。在一次两人的单独旅行中，鲁道夫再次不辞而别。葛洛莉亚就如一个失恋的少女一样痛彻心扉。与16岁青少年不同的是，生活的历练使她决心要放下这段感情。

回到家中，她留下了那只经常蹿到她家的猫，生活颓靡了一段时间后，她重新梳妆，重新回归到自己的生活之中。从剧情看来，这活生生的就是一场无法避免的中年危机：儿女的生活不再需要葛洛莉亚，即使是她想要参与或者与儿女们的生活产生链接；好不容易开展的一段新恋情，却发现不能如愿以偿，只得罢手——生活在她的心里掏了一个洞，她不知道如何去填充。

好在在影片的末尾，导演给了葛洛莉亚一个安放之地。生活再一次历练了她，让迷茫的她回归到自我。

通过炙热恋爱与「年龄」的结合，导演不徐不疾地呈现葛洛莉亚的生活状态。不难联想，在生命的任何一个阶段，「危机」其实一直以不同形式存在，它何时以及以什么方式到来，我们都不得而知。只是我们要了解和清楚的是，当「危机」到来时，我们将如何回到生命本身。我们终将要回归到自我本身。如此往复，我们就会在叠加的沉淀与历练里，不断地将自己迭代，让自己一次次地成长。

尽情舞蹈的葛洛莉亚

我之前有提过，塞巴斯蒂安·莱里奥是一位「女性的」导演（很多伟大的男导演都是「女性的」，比如伯格曼、阿莫多瓦等等）。

这部作品由一位中年女性入手，冷静地呈现着葛洛莉亚的生活：与子女的链接、对爱情的欲求、对生活的感悟，对自我的反思……这位58岁的女人，在镜头之下时而是16岁，时而是60岁——年龄不再是她的标签。

莱里奥的作品不多，但每一部都与女性相关。创作前期，其作品都以西班牙语为主，近来的《违命》与《葛洛莉亚》翻拍版《葛洛利亚·贝尔》都是英语，这貌似是要打开国际/北美市场的前奏。

葛洛莉亚与鲁道夫

《葛洛利亚·贝尔》邀请了大明星出演，删减/改动了些许场景，但大体的故事、情节安排、镜头运用都与《葛洛莉亚》大同小异。在我看来，导演已经尽可能地保留「个体意图」，在《葛洛利亚·贝尔》这个版本上仅做了细微的调整，当然，这两个版本给观众带来的心理体验就见仁见智了。

《葛洛丽亚·贝尔》

完。

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