The Cannes filmfestival

　　戛納電影節

　　Subtle story

　　微妙的故事

　　Abdellatif Kechiche s film, La vie d Adele, carriesoff the top prize;

　　阿布戴柯西胥執導的電影《阿黛爾的生活》摘得桂冠;

　　At A time of national collective depression inFrance, the Cannes film festival is a preciousmoment: an occasion to show the world that it canstill host the most prestigious film festival, throwstar-studded parties and draw the best Hollywood talent. Over the years, Cannes has alsobecome a chance for the industry to make a point, and it was easy to see one in this year swinner of the Palme d Or, the festival s top prize. It went to La vie d Adele , a three-hour erotic lesbian drama directed by a Tunisian-born director,Abdellatif Kechiche. A perfect symbol, mused Libration.

　　在法國舉國籠罩在陰郁之下時，戛納電影節成為其最閃耀的一刻：法國向世人證明了自己仍舊可以舉辦世界上最具盛名的電影節、眾星云集的晚會，同時也吸引著每一位好萊塢明星。多年來，戛納一直都是電影業界闡述觀念的舞臺，而今年的金棕櫚獎戛納電影節最高獎項的獲獎得主，也能夠看出這一點。今年的獲獎影片是由出生在突尼斯的導演阿布戴柯西胥執導、以三小時時長講述了女同性戀故事的《阿黛爾的生活》。法國解放報這樣寫道：這是一個完美的象征。

　　Adele, a pupil at a multicultural school in Lille, wants to become a teacher. Played by the19-year-old Adele Exarchopoulos, an acting revelation, she is thrown into disarray, thenecstasy, then melancholy by an explosive love affair with Emma , an artstudent from a liberal-intellectual milieu, with gamine looks and blue-dyed hair. It is anunsentimental coming-of-age film about womanhood, a tale of passion and anger, and anunapologetically graphic love story.

　　影片主角阿黛爾是法國里爾市一所多文化學校的一名學生，她的夢想是成為一名老師。這個角色由演技頗具啟示的阿黛爾艾克阿切波洛斯扮演，在影片中因她與出身自由而又學術的、一頭藍發散發著假小子氣質的藝術學生艾瑪的戀情，而使得她的人生陷入混沌，繼而狂喜，繼而憂郁。影片對于女性的刻畫真實且成熟，就像是一個充斥激情與激憤的故事，也像是一段清楚直白不做作的愛情故事。

　　Steven Spielberg, an American director and this year s jury president, dismissed anypolitical symbolism. Politics, he said, was not in the room with us. Yet the Palme d Orwas awarded on a day when protesters took to the streets in Paris for a massdemonstration against a new law that has legalised gay marriage in France, and after aperiod marked by homophobic violence. By exploring a love affair between two women, theFranco-Tunisian Mr Kechiche has also made a bold point about female liberty. And hededicated his prize to youth in both France and Tunisia, so as to inspire them to live infreedom.

　　作為今年電影節的評審團主席，美國導演史蒂文斯皮爾伯格拒絕任何形式上將電影同政治相關聯。他說：政治，絕不是我們考慮的因素。然而，金棕櫚獎頒發前，是一段充斥著反同性戀暴力的時間，在這個獎頒發時，法國反對同性婚姻合法化法律的示威者正在巴黎街頭舉行游行抗議。突裔法國導演柯西胥通過探索女性之間的愛情，在女性自由解放中邁出了堅定的一步。他把他的獎獻給所有法國和突尼斯的青年人，為了讓他們能夠更加自由的生活。

　　Does Cannes need to shock? Past juries have delighted in making mischievous politicalchoices. When Michael Moore won the 2004 prize for Fahrenheit 9/11, his anti-George Bushdocumentary, he got a 20-minute standing ovation. In recent years, the gong has oftengone to films that grasp nettlesome subjects, such as Cristian Mungiu s 4 Months, 3 Weeksand 2 Days or Ken Loach s The Wind that Shakes the Barley .

　　戛納會不會對此感到震驚?以前的評審團經常做一些與政治相關的選擇。當麥克摩爾2004年憑借批判喬治布什總統的紀錄片《華氏911》獲獎時，人們起身為他喝彩了20分鐘。而近年來，獲獎的總是些圍繞著惱人事件的電影，比如說克里斯蒂安蒙吉的《四月三周兩天》或者是肯洛奇的《風吹稻浪》。

　　Yet, judging by the near-unanimous critical approval, Adele has married both politicalimportance and artistic merit. Libration called it dazzling, a film that floated above allthe others. Le Monde described it as an emotional, erotic shock. Variety labelled it asearingly intimate character study. Better known for his gritty but charming dramas set inheavily immigrant France , Mr Kechiche s latest film isalso in many ways a product of the French mainstream: a risqu movie, shot in close-up,celebrating independence and passion, starring two white leading actresses, and withminorities as mere extras. For all his north African sensibility, Mr Kechiche now looks everybit a part of the French film-making establishment.

　　然而，從一致的評論中可以看出，《阿黛爾的生活》是政治因素和藝術價值的結合體。法國《解放報》稱其亂花漸欲迷人眼。，是一部領先的電影。《世界報》將電影描述為情感豐富，充滿情欲。《綜藝》給它貼上了熾熱的親密關系研究的標簽。導演柯西胥更多的是知名于他那些描述法國移民的堅毅、頗具魅力的電影，而他的新作品在很多方面也都緊貼潮流：淫穢電影、近景拍攝、歡慶獨立與激情、兩名白人女主角而民族僅作為附加部分。他對于北非的感受力，讓現在的他成為了法國電影史成就的一部分。

　　The Cannes filmfestival

　　戛納電影節

　　Subtle story

　　微妙的故事

　　Abdellatif Kechiche s film, La vie d Adele, carriesoff the top prize;

　　阿布戴柯西胥執導的電影《阿黛爾的生活》摘得桂冠;

　　At A time of national collective depression inFrance, the Cannes film festival is a preciousmoment: an occasion to show the world that it canstill host the most prestigious film festival, throwstar-studded parties and draw the best Hollywood talent. Over the years, Cannes has alsobecome a chance for the industry to make a point, and it was easy to see one in this year swinner of the Palme d Or, the festival s top prize. It went to La vie d Adele , a three-hour erotic lesbian drama directed by a Tunisian-born director,Abdellatif Kechiche. A perfect symbol, mused Libration.

　　在法國舉國籠罩在陰郁之下時，戛納電影節成為其最閃耀的一刻：法國向世人證明了自己仍舊可以舉辦世界上最具盛名的電影節、眾星云集的晚會，同時也吸引著每一位好萊塢明星。多年來，戛納一直都是電影業界闡述觀念的舞臺，而今年的金棕櫚獎戛納電影節最高獎項的獲獎得主，也能夠看出這一點。今年的獲獎影片是由出生在突尼斯的導演阿布戴柯西胥執導、以三小時時長講述了女同性戀故事的《阿黛爾的生活》。法國解放報這樣寫道：這是一個完美的象征。

　　Adele, a pupil at a multicultural school in Lille, wants to become a teacher. Played by the19-year-old Adele Exarchopoulos, an acting revelation, she is thrown into disarray, thenecstasy, then melancholy by an explosive love affair with Emma , an artstudent from a liberal-intellectual milieu, with gamine looks and blue-dyed hair. It is anunsentimental coming-of-age film about womanhood, a tale of passion and anger, and anunapologetically graphic love story.

　　影片主角阿黛爾是法國里爾市一所多文化學校的一名學生，她的夢想是成為一名老師。這個角色由演技頗具啟示的阿黛爾艾克阿切波洛斯扮演，在影片中因她與出身自由而又學術的、一頭藍發散發著假小子氣質的藝術學生艾瑪的戀情，而使得她的人生陷入混沌，繼而狂喜，繼而憂郁。影片對于女性的刻畫真實且成熟，就像是一個充斥激情與激憤的故事，也像是一段清楚直白不做作的愛情故事。

　　Steven Spielberg, an American director and this year s jury president, dismissed anypolitical symbolism. Politics, he said, was not in the room with us. Yet the Palme d Orwas awarded on a day when protesters took to the streets in Paris for a massdemonstration against a new law that has legalised gay marriage in France, and after aperiod marked by homophobic violence. By exploring a love affair between two women, theFranco-Tunisian Mr Kechiche has also made a bold point about female liberty. And hededicated his prize to youth in both France and Tunisia, so as to inspire them to live infreedom.

　　作為今年電影節的評審團主席，美國導演史蒂文斯皮爾伯格拒絕任何形式上將電影同政治相關聯。他說：政治，絕不是我們考慮的因素。然而，金棕櫚獎頒發前，是一段充斥著反同性戀暴力的時間，在這個獎頒發時，法國反對同性婚姻合法化法律的示威者正在巴黎街頭舉行游行抗議。突裔法國導演柯西胥通過探索女性之間的愛情，在女性自由解放中邁出了堅定的一步。他把他的獎獻給所有法國和突尼斯的青年人，為了讓他們能夠更加自由的生活。

　　Does Cannes need to shock? Past juries have delighted in making mischievous politicalchoices. When Michael Moore won the 2004 prize for Fahrenheit 9/11, his anti-George Bushdocumentary, he got a 20-minute standing ovation. In recent years, the gong has oftengone to films that grasp nettlesome subjects, such as Cristian Mungiu s 4 Months, 3 Weeksand 2 Days or Ken Loach s The Wind that Shakes the Barley .

　　戛納會不會對此感到震驚?以前的評審團經常做一些與政治相關的選擇。當麥克摩爾2004年憑借批判喬治布什總統的紀錄片《華氏911》獲獎時，人們起身為他喝彩了20分鐘。而近年來，獲獎的總是些圍繞著惱人事件的電影，比如說克里斯蒂安蒙吉的《四月三周兩天》或者是肯洛奇的《風吹稻浪》。

　　Yet, judging by the near-unanimous critical approval, Adele has married both politicalimportance and artistic merit. Libration called it dazzling, a film that floated above allthe others. Le Monde described it as an emotional, erotic shock. Variety labelled it asearingly intimate character study. Better known for his gritty but charming dramas set inheavily immigrant France , Mr Kechiche s latest film isalso in many ways a product of the French mainstream: a risqu movie, shot in close-up,celebrating independence and passion, starring two white leading actresses, and withminorities as mere extras. For all his north African sensibility, Mr Kechiche now looks everybit a part of the French film-making establishment.

　　然而，從一致的評論中可以看出，《阿黛爾的生活》是政治因素和藝術價值的結合體。法國《解放報》稱其亂花漸欲迷人眼。，是一部領先的電影。《世界報》將電影描述為情感豐富，充滿情欲。《綜藝》給它貼上了熾熱的親密關系研究的標簽。導演柯西胥更多的是知名于他那些描述法國移民的堅毅、頗具魅力的電影，而他的新作品在很多方面也都緊貼潮流：淫穢電影、近景拍攝、歡慶獨立與激情、兩名白人女主角而民族僅作為附加部分。他對于北非的感受力，讓現在的他成為了法國電影史成就的一部分。