《愛的語言》
The Language of Love
2013 | 9min |劳拉·斯克里凡诺 Laura Scrivano
剧情短片 Short Narrative
编剧 Screenwriter
Kim Ho
主演 Cast
Kim Ho
制片人 Producer
Dan Prichard
摄影 Cinematographer
Ross Giardina
对白语言Language
英语 English
字幕 Subtitles
中英 Chinese, English
制作机构 Production Group
ATYP
故事梗概 Synopsis
在一次法语考试中,17岁的查理为了寻找正确的词汇来表达他对最好朋友和自己的真实情感。一个扭曲、精细的关于初恋和萌芽性欲的故事,从一个少年的角度来表达。
“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
劳拉·斯克里凡诺是一个备受赞誉的编剧、导演,在电影、电视、剧场领域工作。她出生于澳大利亚南部海岸,目前居住在洛杉矶。劳拉毕业于澳大利亚电影、电视与广播学院,专业是导演和编剧,她曾在欧盟电影奖资助下,携短片《果园》参加塞浦路斯国际电影节和戛纳电影节。
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
金的剧本关于爱情——少年爱情,没有回报,无法说出——对我来说,它关于孤独。那种被人群包围时才能体会到的孤独。
当我第一次读剧本的时候,我产生了一个引人注意的画面:一个年轻的男孩孤独地坐在一个大的考试教室里,被空荡荡的桌椅包围着。这个故事从查理的角度讲起,我想让观众直接通过画面进入他的内心世界。因此尽管在客观上他是被他的同学们包围着,但是通过这样的方式隐喻他的孤独。这样的内心孤独和失联就是我在我17岁的时候感受到的东西。我认为是十几岁的年轻人共同的经历。
《爱的语言》中的愉快情绪来自查理寻找勇气表达他的感受。在他极度恐惧的时候,他决定把他的情感真相表达出来——对他自己,或者我们希望对萨姆。查理对萨姆的描写使我想起法国电影中的对欲望客体的描写的浪漫化处理。特别是法国电影新浪潮中把客体放置在窗户边或是其反射中。当然,在这些影片中欲望的客体是女性。因此我寻找机会来重新想象这些刻画一个年轻男性的画面。
我希望当最后萨姆转身的时候是有些暧昧,有些梦幻的。查理希望,同时也是观众的期待,萨姆听到他说的这些了。或者说世界听到他了。查理渴望被理解和被接受。他的渴望和我们所有人的渴望一样,他爱的人在我们叫他名字的时候能够转过身来。
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.