The Language of Love
2013 | 9min |劳拉·斯克里凡诺 Laura Scrivano
剧情短片 Short Narrative
中英 Chinese, English
制作机构 Production Group
“This is amazing.”—Ellen DeGeneres
In the middle of a French exam, 17-year-old Charlie struggles to find the words to be true to his best friend…and to himself. A wry, delicate take on first love and awakening sexuality from a young man’s perspective, The Language of Loveis written and performed by Kim Ho and directed by Laura Scrivano.
导演简历 Bio-Filmography of Director
Laura Scrivano is an award-winning writer and director for film, television and theatre. Born on the NSW South Coast in Australia, she is currently based in LA. Laura is a graduate of the Australian Film, TV and Radio School (AFTRS) in both directing and screenwriting, where she was awarded the prestigious European Union Film Award, funding her to travel to the Cyprus International Film Festival and Festival de Cannes with her Short Narrative The Orchard.
导演阐述 Director’s Statement
As much as Kim’s script was about love—young, unrequited, unspoken love—for me it was also about loneliness. The kind of loneliness you can only feel when you are surrounded by people.
When I first read Kim’s script, I had one key image leap out at me: that of a young boy sitting alone in a large exam hall, surrounded by empty chairs and tables. The story is told through Charlie’s point of view, and I wanted to use the cinematography to place the audience directly in his internal world. So although in a literal sense he would be surrounded by his fellow classmates, metaphorically he is alone. That sense of internal loneliness and disconnection was something I felt when I was seventeen, and I think is a common experience for teenagers.
The joy in The Language of Love comes from Charlie finding the courage to voice his feelings. In the moment of greatest fear he makes a decision to reveal the truth about his feelings—to himself and, we hope, to Sam. Charlie’s descriptions of Sam reminded me of how the object of desire is romanticised in French films, particularly the French New Wave cinema that placed that object next to windows or in reflection. Of course, in these films the object of desire is a woman and I seized the opportunity to reimagine these images with a young man.
I wanted the moment in which Sam turns around at the end to be ambiguous, dreamlike. Charlie hopes, as do the audience, that Sam has heard him. That the world has heard him. Charlie longs for understanding and connection. He longs, like all of us, for the person we love to turn around when we call their name.