湯姆·摩爾 孟潔冰

After making a huge splash with his Oscar-nominated and Palme dOr-winning film， Shoplifters， writer-director Hirokazu Kore-eda returns with The Truth—his first film not set in Japan or in his native language. Rather， its a French family drama that follows Fabienne （Catherine Deneuve）， one of the most highly regarded actors of French cinema， who was beloved in her heyday. However， shes not beloved by all， as she has a problematic relationship with her daughter， Lumir （Juliette Binoche）， who holds a major grudge against her for putting her career before her family. Lumir， a screenwriter， lives in New York with her American husband Hank （Ethan Hawke）， a struggling TV actor， and their daughter Charlotte （Clementine Grenier）.

When Lumir and her family visit Fabienne in order to support her during the release of her “tell-all” book and her latest role in a sci-fi film alongside a rising young starlet （Manon Clavel）， ugly truths begin to come out， causing a less than warm reunion between mother and daughter. It sounds heavy， but Kore-eda blends a lot of the saddening drama of Fabienne reaching the end of her climactic days as an actor and Lumirs deep-seated anger towards her mother with refreshing humor.

Moments like Fabienne making Charlotte believe she has magic powers and can turn people， like her ex-husband and Lumirs father Pierre （Roger Van Hool）， into animals are very funny and even Hank attempting to follow along with everyone speaking French is just absolutely hilarious. Kore-eda creates a warmth through these moments thats very comforting and makes for a much more emotionally enriching experience. Not to mention， it helps ease some of the harsh tension of Fabienne and Lumirs fractured relationship and Fabiennes distorted view of the world.

Not finding the same kind of recognition and stardom she found before， Fabienne has become disillusioned with the film industry and incredibly self-centered. Shes constantly giving backhanded compliments towards Hank for “not being a ‘real actor” in her eyes， being petty towards the director and young talent of her new film and being unapologetic about her past mistakes. Shes basically the kind of actor that you hear is a total nightmare， however， Kore-eda also allows Fabienne a softer side and Deneuve is absolutely magnificent from start to finish.

Deneuve adds a personal touch and vulnerability to her performance that makes Fabienne （which is actually Deneuves middle name） so compelling to watch. Her stubbornness and refusal to see things outside of her own view is a perfect mask for her insecurities about her fleeting fame. Her vanity and inability to accept when people are better than her on set or that her actions have caused major ripples in her relationship with Lumir could make her easy to peg as a villain. Theres even a moment where Fabienne says that shes fine being a bad mother and a bad friend as long as being a good actress is right alongside it and it shows how warped her views have become. However， Deneuve and Kore-eda make Fabienne find the redemption and inspiration she needs through having deeper experiences with her family–even Hank–and it makes the final moments between Fabienne， Lumir， and her rising young co-star more impactful.

Binoche makes it hard not to empathize and feel all of the begrudging feelings Lumir has about Fabiannes new book because it only fleshes out “the truth” that her mother wants people to believe. Binoches performance will likely resonate with many viewers， as Lumir simply wants her mother to own up to her mistakes so she can find forgiveness and their relationship can improve. Its easy to see how the new film that Fabienne is in mirrors Lumirs issues with her mother and it makes for a very fulfilling tale about forgiveness and what we consider to be “the truth” of how we view our lives and other people.

Hawke is also great as a sort of compassionate family man trying not to be a total outsider by trying to gain the respect of those around him. Kore-eda utilizes him perfectly， as more of a genuinely uplifting part of the film who always gives off those perfectly good dad vibes that are just impossible to resist.

The Truth delivers the kind of comforting and compassionate family drama that any viewer can enjoy and will instantly warm your heart. It wouldnt surprise me to see The Truth help Kore-eda get back into the Best International Feature category at the Oscars or for Deneuve to get some well-deserved recognitions as well.

憑借得到奧斯卡獎提名和榮獲金棕櫚獎的電影《小偷家族》引起巨大轟動后，編劇兼導演是枝裕和攜新片《真相》回歸影壇，這是他第一部不以日本為背景也不使用其母語拍攝的影片?！墩嫦唷肥且徊糠ㄕZ家庭劇情片，講述了法比耶娜（凱瑟琳·德納芙飾演）的故事，她是法國電影界最受矚目的演員之一，在全盛時期深受觀眾喜愛。然而，法比耶娜并非受到所有人的喜愛，她與女兒盧米爾（朱麗葉·比諾什飾演）關系并不和睦，女兒對她顧事業(yè)不顧家庭深懷怨恨。露米爾是一位編劇，她的美國丈夫漢克（伊?！せ艨孙椦荩┦莻€苦苦掙扎的電視演員，他們與女兒夏洛特（克萊芒蒂娜·格勒尼耶飾演）住在紐約。

法比耶娜“無所不談”的傳記發(fā)行，最近與影壇新星（瑪儂·克拉維爾飾演）搭檔出演一部科幻電影，盧米爾帶著家人前來探望以示支持，此時丑陋的真相開始浮出水面，讓這場母女重逢變得一點都不溫馨。這個故事聽起來很沉重，包含法比耶娜身為演員的輝煌歲月走到盡頭、盧米爾內(nèi)心深藏對母親的怨恨等傷感的劇情，但是枝裕和在許多這樣的劇情中融入了清新的幽默。

有些片段頗為有趣，比如法比耶娜讓夏洛特相信她有魔力，可以把人們，比如自己的前夫、盧米爾的父親皮埃爾（羅杰·范·胡爾飾演）變成動物，漢克試著跟大家一起說法語的橋段也極為搞笑。是枝裕和通過這些片段營造出令人欣慰的溫暖感覺，帶來更多豐富情感的體驗。更不用說，這多少也緩解了由于法比耶娜和盧米爾關系破裂以及法比耶娜世界觀扭曲造成的緊張氣氛。

由于沒有得到以前的那種認可和明星地位，法比耶娜對電影行業(yè)倍感失望，變得極其自以為是。她總是暗含譏諷地夸獎漢克，因為在她眼里，漢克“不是一個‘真正的演員”;她對拍攝新片的導演和年輕演員態(tài)度苛刻，對自己過去的錯誤毫無悔意。基本上，她就是你聽說的那種堪稱噩夢的演員，不過是枝裕和也讓法比耶娜流露出溫柔的一面，而德納芙從頭到尾的表演絕對精彩。

德納芙在演繹角色時增添了個人色彩和脆弱感，讓法比耶娜（這其實是德納芙的中間名）的形象非常令人信服。她性格偏執(zhí)，拒絕接受自己觀點以外的看法，這是她對自己的名氣轉(zhuǎn)瞬即逝感到不安的完美掩飾。她虛榮心強，無法接受別人在片場的表現(xiàn)比她出色，也不相信她的行為對她和盧米爾的關系造成了很大的影響，這可能讓她很容易被當成反派。甚至有一回，法比耶娜說她可以做個壞母親和壞朋友，只要做個好演員就行，可見她的觀點已經(jīng)變得多么扭曲。然而，德納芙和是枝裕和聯(lián)手，讓法比耶娜通過與家人（甚至包括漢克）更為深入的相處，找到自己所需要的救贖和靈感，也讓法比耶娜、盧米爾和她嶄露頭角的年輕搭檔之間最后的戲份更具沖擊力。

比諾什的表演讓人很難不感同身受，很難不體會到盧米爾對法比耶娜新書的一切不滿，因為這本書只是讓她母親希望人們相信的“真相”具體化了。比諾什的表演可能會引起許多觀眾的共鳴，因為盧米爾只是希望母親坦白承認錯誤，這樣才能得到寬恕，她們的關系才能得到改善。觀眾不難看出，法比耶娜出演的這部新電影在故事情節(jié)上和盧米爾與母親的諸多問題頗為相似，這也是個非常有意義的故事，講述了寬恕以及我們眼中認定的關于自己和他人的所謂“真相”。

霍克也出色地塑造了富有愛心的居家男人形象，他努力贏得周圍人的尊重，不想徹底變成局外人。是枝裕和完美地發(fā)揮了他的作用，使他更多地充當了電影中真正令人振奮的角色，總是散發(fā)出完美父親的魅力，讓人無法抗拒。

《真相》是一部令人欣慰和充滿關懷的家庭劇，適合任何觀眾欣賞，會在瞬間溫暖你的內(nèi)心。如果《真相》能夠幫助是枝裕和再次角逐奧斯卡的最佳國際影片獎，或者讓德納芙獲得一些應得的贊譽，我也不會感到意外。? ? ? ? ? ? ? ? ? ? ? □