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)
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。
三星半。不甘寂寞的女人,向着百无聊赖心怀不轨的生活开炮吧。最后好像什么都没发生,这就是身边的事,不管愿不愿意,它都在每天上演着。不如和葛洛莉亚共舞。
初打量平淡,细琢磨惊艳。究竟有多大的勇气,敢拍老年女性的爱情?像聂鲁达的诗歌,时刻灼烧着神经。钦佩本片的坦诚,不仅有“从诗词歌赋谈到人生哲学”,还有裸露的身躯,下垂的乳房和衰老的面孔。那些豺狼虎豹般的情欲呀,怕是害得年轻人也脸红。新晋柏林影后的独角戏收放自如,过瘾。
老年都市女青年的爱情,来的赤裸而直接,很少在电影中看到如此直白的中年人性爱场面和衰老的裸体,但那种真诚与坦荡是任何诚实的人都会有的情感处理方式,真实的让人不忍直视,甚至会让很多人中枪。它让人看到了老年人的孤独,和新时代女性(或者说有点女权)眼中的爱情观。★★★★
孔雀独自在暗处绽放,葛洛莉亚试着一个人跳舞,独立虽好,可对着人发骚才真妙,人终生都无法战胜孤独,心灵破碎的时候对着邻居讨厌的猫也能萌生出温情,陌生男子的嘴唇也有温度。“你总是这么开心吗?”“不是。”
竟然真的是这首歌………………喜欢!
喧嚣的舞厅与孤独。孤独的开始,孤独的结束。女主角很厉害,给片子增色不少
8.4。疼进我心里了。人性的纠结,爱与不爱的软弱,丑陋的谎言与卑劣的欲望。时而动人时而苍凉时而暖意的歌曲。开篇是唱歌,结尾也是唱歌,心境却大有不同,看到最后我骤然流泪了。希望我到了那个年龄,不会这样孤独不已,寂寞地寻求着艳遇,舍不得与子女分离,我希望与相爱的人厮守,拥有自己的天空。
孔雀开屏,乞求赞美;骷髅舞蹈,渴望关注。邻居的猫弓成一团希冀爱抚,一个女人在旋转木马上等待爱的光顾。松弛的肌肉和下坠的乳在时光长河里溺水求生,拒绝衰老。她的彩弹枪射出了不告而别的愤怒,却反弹回舞池中独舞的孤独。前夫举着旧合照言之凿凿,我们曾经相爱。在尴尬的空气里,她是无助的小丑。
一个58岁老女人晚节不保到处约炮被人抛弃后举枪解恨最后看到白孔雀变得迷人的故事。结尾落至欢乐的歌声很不错,更衬悲凉与苦楚。
发起了一场生活革命的女人最后遍体鳞伤回到了原来的生活,但她却成长了,懂得为自己开屏并翩翩起舞。这就像迈克李《又一年》走出的角色的故事,幽默又不失诗意,情感表达精准,人物刻画绝对成功,智利的政治社会背景也是亮点,女权再次被提及。女主有竞争影后的实力。
the white peacock at the end, gloria dancing tentatively but triumphantly alone, music, love, independence
人约黄昏后。。
这个女人也太潇洒了。
#01 拉美电影近两年佳作频出。影片聚焦一个离异的、喜欢参加单身派对的58岁都市女人。在这里,爱情不再是躁动、粘腻或是清新,只是一种互相自足的相互依偎。天长地久好像是太微薄的事情。温润的格调,女主角不愧是柏林银熊的得主,不美但非常耐看。
智利中老年人的月抛史。意思不大。
“每个人都有一首属于自己的主题曲,在影片那个充满希望的结尾中,葛洛莉亚唱着属于她自己的歌,又一次穿梭在舞池中,不过这次她更加自信,也更加美丽了,葛洛莉亚用她的笑容战胜了孤独,战胜了生活的重重压力,从现在开始,她要开始过真正属于她自己的生活了。”
这样的58岁不是挺好的么 孔雀开屏那点儿略惊艳
老年人的情感电影。女主时时刻刻去面对自己的黑暗和秘密的过去。
Paulina García 大好
随便一个西班牙人名就可以做电影名字。而且很有故事的感觉。典型的慢节奏。细节足。不错。