Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
几乎是一部文学语言的故事，透过影像叙事切碎了时空，使故事中的不同人物在影像世界交汇，命运汇通。我唯一确信的是，电影的创作灵魂实际上是佛家所言的因果。n于佩尔在这部电影里究竟是扮演两个角色，还是多个角色让我挺迷惑，但更多是两个角色的交汇，这两个角色，可以按电影所言，理解为孪生姐妹，实际上更艺术化理解，是一种灵魂的近似、连接，这种因果关系最终实现命运的交汇，悲剧相通。(解读这些人物的精神世界非常困难，但总之在各自信仰的方向前行，唯有悲剧相通、情感实际上是无形之间共鸣。)n电影看第二遍我可能会看的懂，但第一遍看完其实觉得这种模糊之间的体验就恰是我要从电影里寻找的一种感觉，没有必要短期内重看！n理解这部作品最大的难点其实不在于故事，因为这个因果与命运的线头其实很清晰，而在于解读于佩尔的表演，这个表演不局限于行为和台词，也不止于肤浅的诠释人物个性，她们有思想，但不受思想驱动，有信仰，但实际上并没有真正理解和接收信仰，于佩尔几乎是以一种不具体的心理面貌，任其受无意识在驱动，她内在暗涌，并浮现于表象，成为我们作为观众所观察到的无意识行为的外在显化。这个表演，无法去具象思考演员行为，她这种直觉和更高层次的无意识表演，其实会拥有于佩尔角色之外属于她内在自我失控和无序的一面，这样的表演是非常深化的一种形态，作为观众去感受，任由意识或无意识去理解它，但又无法具象它，其实就最好。于佩尔的两个角色世界的不同形态，其实让我们看到的不是一种当下市场上演出来的精神分裂，而是一具身体同一灵魂放任其衍化的两种形态，她们分裂但源头归一！n影像85分n剧本90分n导演85分n表演100分n意识控制驱动与无意识失控下两种界限之间的表演，这种层次的表演和这种能级的演员，中国演员是遥不可及，对比之下，这几年的三大帝后和奥斯卡帝后的表演水准，基本是小学生水平！n创新80分n作品分88分n内容系数0.85n影史分75分n作品本身的问题还是在于影像的风格性弱，以及导演的叙事逻辑其实缺乏一种更完整更统一的电影式逻辑，但它是疯狂的，可惜的是，剪辑还可以更碎，更复杂，这种作品如果要与内容契合，尤其是和于佩尔选择的表演方式结合，完全可以剪成一部天书式精神心理类电影，交代逻辑和因果反而落了下乘。