Le Voyage du Ballon Rouge (2007)　Hippolyte Girardot & Anne Consigny ♥♥♥－女神殿

所以說帥龐紅氣球之戀海報也算是向紅氣球致敬哩？台版海報最大問題就是把我心目中法國楊貴媚弄得像食蟻獸 (Tamandua) 或馬來貘 (Malayan Tapir) 之類的。如果紅氣球有生命，低脂牛奶與草莓牛奶的故事更讓我感動。馬克 (Hippolyte Girardot) 在法國版查泰萊夫人演超棒大丈夫，很像 Bill Nighy，今年坎城正式競賽片《聖誕節故事》卡司如下：

Un conte de Noël (2008)

Catherine Deneuve ... Junon
Mathieu Amalric ... Henri
Anne Consigny ... Elizabeth!!!
Emmanuelle Devos ... Faunia
Hippolyte Girardot ... Claude
Chiara Mastroianni ... Sylvia

好正的 Anne Consigny ♥♥♥

不可避免地要完全偏離主題一下呀！三六總局、寂寞愛光臨、潛水鐘與蝴蝶、屬於我們的聖誕節，粗體字代表產生看片動機。未來有兩片要三 (四) 度和小波蘭斯基 (Mathieu Amalric) 合作，其中一片是亞倫雷奈；John Rabe (2008) with Steve Buscemi!!!

　坎城影展萬歲！

延伸閱讀：
紅氣球之旅 (Le Voyage du ballon rouge)
阿諾戴普勒相 (Arnaud Desplechin)
茱儂 (凱薩琳丹妮芙飾)

紅氣球 Le Voyage du Ballon Rouge
114 min. 2007

Juliette Binoche ... Suzanne
Simon Iteanu ... Simon
Hippolyte Girardot ... Marc

allmovie 影評

For the most part, Hou foregoes major story developments and simply uses screen time to witness the interaction of Song, Suzanne, and Simon as they live out existences of quiet despair.

The red balloon, the color red itself, comes to represent everyday heartache, captured like spirit photography in the dramas enacted by Simon and his frazzled mother, Suzanne (Juliette Binoche), in their cramped apartment.

The story is simple, but extraordinarily well told.

Hou's long interior scenes shot from a fixed point, largely improvised by the actors, and infused with bleeding light sources have [the exquisite emotional precision of the classical piano music] permeating the soundtrack.

voice village 影評

About a thousand movies ago, I made the truculent, unprovable assertion that if Chinese grandmaster Hou Hsiao-hsien were French, he'd be the darling of the Lincoln Plazas. Now the moment of truth arrives with Hou's Flight of the Red Balloon—set in Paris, starring Juliette Binoche, and inspired by Albert Lamorisse's classic kid flick about the friendship between a lonely boy and a curiously sentient crimson inflatable.

Almost immediately, the balloon's role is assumed by the Chinese film student Song (Song Fang) hired to look after Simon. A would-be guardian angel, she hovers in the boy's vicinity before locating the studio where Suzanne is rehearsing her new, Chinese-inspired puppet show. Like the balloon, Song is round-faced and benign, a preternaturally calm, solitary, self-contained observer.

But where [Wong] facilely filtered the alien terrain of Soho and Reno through his own distinctive lens, [Hou] appears to have accepted his distance from the material—and worked with it. Flight of the Red Balloon is explicitly an outsider's movie, full of odd perspectives and founded on dislocation.

As though shooting a silent, Hou wrote a script without dialogue—then discussed each scene with his actors, who had to invent their own lines. This surely accounts for Simon's diffidence as well as Binoche's splendiferous eccentricity.

The movie is animated not only by the hide-and-seek antics of the red balloon but by her extravagant turn as a frazzled performance artist. Played with total self-absorption and a corresponding absence of vanity, Suzanne is a harried composition in frowsy blonditude, filmy scarves, and mad décolletage—the most dynamic female protagonist in the Hou oeuvre.

Let's call her the spirit of the place. Paris apartments are cluttered, Parisian lives are messy, the city is shown so congested you can smell the exhaust fumes. To cope, Hou himself has adapted a looser, more lyrical style—using window reflections and shallow focus to layer and otherwise complicate the image. A movie that encourages the spectator to rummage, Flight of the Red Balloon is contemplative but never static, and punctuated by passages of pure cinema.