Love Letters

席琳正期待着她的第一个孩子，但怀孕的并不是她。三个月后，她的妻子娜迪娅将诞下她们的女儿。在朋友、母亲以及法律的注视之下，席琳不断追寻着自己在家庭中的位置与合法性。

Céline is awaiting the arrival of her first child. But she isn’t pregnant. In three months, it’s her wife, Nadia, who will give birth to their daughter. Under the gaze of her friends, her mother, and facing the law, she searches for her place and legitimacy. 

导演：爱丽丝·杜尔
编剧：爱丽丝·杜尔
主演：艾拉·朗夫，莫妮亚·肖克里，诺埃米·洛夫斯基
制片人：玛琳·阿里吉·德·卡萨诺瓦，玛丽·博塔尔，爱丽丝·杜尔
摄影：雅克·吉罗
类型：剧情长片
对白语言：法语
地区：法国
制片公司：Apsara Films、Les Films de June、France 2 Cinéma

Director: Alice Douard
Screenwriter: Alice Douard
Cast: Ella Rumpf, Monia Chokri, Noémie Lvovsky
Producer: Marine Arrighi de Casanova, Marie Boitard, Alice Douard
Cinematographer: Jacques Girault
Genre: Narrative Feature Film
Language: French
Region: France
Production Company: Apsara Films, Les Films de June, France 2 Cinéma 

爱丽丝·杜尔毕业于法国国立高等影像与声音学院的导演系。她的毕业作品《过早收缩》曾入选多个国际影展。她与玛丽·博塔尔共同创立了制片公司 Les Films de June，并执导了短片《待产》，该片荣获2024年凯撒奖最佳剧情短片奖。《爱的证明》是她的首部剧情长片。 

Alice Douard studied directing at La Fémis. Her graduation film, Extrasystole, was selected by numerous festivals. She co-founded Les Films de June with Marie Boitard and directed L’Attente, which won the César Award for Best Fiction Short Film in 2024. LOVE LETTERS is her first feature film.   

“我想创造一种缺席的影像。就像席琳一样，我当时在期待我的第一个孩子，却并非由我亲自孕育，我必须通过收养的方式成为母亲。那时并没有可以参考的影像或榜样，于是我想以一种亲密的方式讲述，我们组建家庭的过程触及了哪些问题——家庭何以独特，又何以平常。” 

“在与摄影师雅克·吉罗共同设计镜头时，视角始终是核心。找到合适的距离，才能激发共情和认同。席琳是在不断运动的角色——这部电影就像一列穿行的火车。” 

“我从很多作品里获得了灵感：拍摄席琳的方式参考了卡梅隆在《终结者2》中拍摄约翰·康纳的手法；家庭主题受到《小偷家族》的启发；身体与空间的表现方式则借鉴了《大象》——我希望在其中找到审美上的连贯性。” 

“I wanted to create an image that was missing. Like Céline, I was expecting my first child without carrying them myself, and I had to adopt them. There were no images or role models to refer to, so I set out to tell, intimately, what our way of forming a family really questioned—its uniqueness and its ordinariness.” 

“Throughout the shot planning with DP Jacques Girault, the question of point of view was central. Finding the right distance is what enables empathy and identification. Céline is a character in motion—the film is like a moving train.” 

“I drew inspiration from varied references: filming Céline as Cameron films John Connor in Terminator 2; the family questions of Shoplifters; and the bodies-in-space approach of Elephant—seeking an aesthetic coherence between them.”