SEX

两名处于异性婚姻中的男人经历了一场意外，打破了他们对性别、欲望与身份的固有认知。其中一人，在偶然的邂逅中与同性发生性关系，这段经历似乎不该被定义为同性恋或背叛，他与妻子坦诚，试图从中寻找答案。

另一人则在夜半梦回中，惊觉自己以女性形象出现，这引发了他内心的困惑，开始探问：究竟有多少自我，是由他人的目光构建而成。

Two men, both in heterosexual marriages, have an unexpected experience that challenges them to reconsider their understanding of sexuality, gender, and identity. One has a sexual encounter with another man, without considering it either as an expression of homosexuality or infidelity, and discusses it with his wife afterwards.

The other finds himself in nocturnal dreams where he is seen as a woman, stirring confusion and leading him to question how much his personality is shaped by the gaze of others.

导演：达格·约翰·豪格鲁德
编剧：达格·约翰·豪格鲁德
主演：简·冈纳·勒伊斯、托比尔约恩·哈尔、西丽·福尔伯格、比吉特·拉森
制片人：英奇·塞瑟、赫吉·豪夫·赫瓦特姆
摄影：塞西利·塞梅克
类型：剧情片
时长：118分钟
完成时间：2024年
对白语言：挪威语
地区：挪威
制片公司：Motlys

Director: Dag Johan Haugerud
Screenwriter: Dag Johan Haugerud
Cast: Jan Gunnar Røise, Thorbjørn Harr, Siri Forberg, Birgitte Larsen
Producer: Yngve Sæther, Hege hauff Hvattum
Cinematographer: Cecilie Semec
Genre: Drama
Length: 118 min
Year: 2024
Dialogue: Norwegian
Region: Norway
Production Company: Motlys

达格·约翰·豪格鲁德（1964年生），不仅是一位小说作家，更是挪威最具影响力的作家及导演之一。凭借《我属于》（2012），他获得了挪威电影阿曼达奖最佳影片、导演、剧本与女配角。该片还获得了影评人奖，受北欧理事会电影奖提名。凭借《当心小孩》（2019），他大获成功；除了在歌德堡电影节上获得龙奖最佳影片与最佳男演员外，该片在威尼斯日的国际首映后，更创下了荣获九项阿曼达奖的记录，更获得了影评人奖及北欧理事会电影奖。豪格鲁德还执导了短片《你是我的心之所向》（2014）及《巧克力工厂的光》（2020）。《爱》将是他“性梦爱三部曲”中的下一部作品；《性》已在2024年柏林电影节首映。

Dag Johan Hhaugerud (b. 1964) has established himself as one of Norway’s most influential writers and directors, in addition to being a writer of novels. With I Belong (2012), he won Amanda for Best Film, Director, Screenplay and Female Supporting Role. The film also won the Film Critics Award and was Norway’s candidate for the Nordic Council Film Award. With Beware of Children (2019), he won bigtime; in addition to the Dragon Award for Best film and Actor at the Gothenburg Film Festival, the film won a record number of 9 Amanda’s after the international premiere at Giornate Degli Autori. In addition, the film won the Film Critics Award and Nordic Council Film Prize. Haugerud has also directed the short features You Are the One That I Want (2014) and The Light from the Chocolate Factory (2020). Love is the next film in his trilogy Sex Dreams Love. Sex already premiered at Berlin Film Festival in 2024.

创作《性》这部电影时，我希望是逗趣、幽默又发人深省的，其中讲述了两位烟囱清洁工在性与社会性别上遭遇的意外挑战。

电影探讨了我们生活中为性与社会性别设立的边界，以及这些界限是否足够宽泛，足以包容我们全部及潜在的身份。我意图揭示，性向与性别认同，不总是密不可分；同样，爱的感知与性向也不总是一一对应。

此外，电影讲述了如何在不伤害挚爱的前提下，于生理及心理上，更自由地表达自己。
我也希望可以呈现出，谈论性话题时，情绪是如何迅速从热情、狂喜、愉悦变为羞耻的。即便身处现代社会，人们说到性和性向时，仍会有许多道德负担，又或感到焦虑，这一现象很有意思，值得我们深思。

我描绘了两位看似是异性恋的男人，他们之间的友谊深厚而亲密，能够互相分享私密经历，感同身受，彼此支持。这样的男性友谊或许不常见，但绝非不可能。我相信，电影的力量不仅在于反映现实，更在于展现可能。在观众心中播下一颗引人入胜的种子，一种新的思考方式，即使电影落幕，也能引领他们走向更深远的思考与对话，这，便是我眼中电影真正的潜力所在。

最后，电影还探索了大都市的生活环境，展现了周遭一切如何塑造我们的生活。我们在摩天大楼与繁忙交通中穿梭，这既是一场疲惫而严酷的旅程，也可以是一场美丽的探险，正如我们在电影中试图呈现的那样，通过记录城市生活的细微之处，捕捉那些被忽视的美好瞬间。

With Sex, I wanted to make an entertaining, amusing, and thoughtful film about two chimney sweepers who experience unexpected challenges regarding sex and gender.

The film explores the boundaries we establish in our lives around sex and gender, and whether they are expansive enough to encompass all of who we are and have the potential to be. I wanted to point out that sexuality and sexual identity are not always connected. Neither are our feelings of love and our sexuality, even though we often think they are. The film is also about gaining more freedom in how we express ourselves physically and emotionally without hurting the people we care about.

I also wanted to show how rapidly emotions can shift from enthusiasm, ecstasy, and joy to shame when discussing sex. It’s intriguing how, even in modern society, questions about sex and sexuality carry so much anxiety and moral weight.

I chose to depict two seemingly heterosexual men who have a strong, confidential friendship that allows them to discuss intimate experiences and seek support in each other’s perspectives. Male friendships of that kind may not be as common as one would wish, but they are certainly a possibility. One of the things I believe film should do is not only reflect the current state of things, but also how things could be. Introducing an engaging idea in the mind of the audience, a new way of thinking that might lead to further thoughts and conversations long after the film has ended. That is what I see as the true potential of cinema.

Finally, the film also explores the living conditions of a big city, showing how our surroundings impact our daily lives. We navigate our way through towering buildings and bustling traffic, an experience that can be both exhausting and harsh. But it can also be beautiful, as we are trying to show in this film by documenting the nuances of everyday life in the city.