巴黎是我們的

杜魯福曾說，有新浪潮，要多得利維特。利維特評而優則導，是新浪潮五虎將中，最先走出文字世界開始執導長片的一人。《巴黎是我們的》於1957年開拍，激勵了其他《電影筆記》好友紛紛加入創作長片的行列。要了解「利維特的神秘國度」，《巴黎是我們的》正好回到他的電影初衷，從中亦可看見他已奠下日後獨特的創作風格。

在6月18日《修女》映後談中，歐嘉麗談到影片當年在法國被禁，高達在報章上對當局作出猛烈抨擊，幾經波折才得以上映。利維特非常忠於狄德羅的原著小說，但結局卻跟原著有別，皆因他想啟發觀眾對自由作出思考，其中女主角的頓悟跟《巴黎是我們的》有著異曲同工之妙。

7月10日《巴黎是我們的》場次設映後談，講者朗天。

《巴黎是我們的》：http://cinefan.com.hk/cms/film/paris-belongs-to-us/?lang=zh

PARIS BELONGS TO US

Francois Truffaut said that the French New Wave came into being because of Jacques Rivette. He was the first of the "Cahiers du Cinema" gang to start shooting a feature film in 1958, well before Truffaut's THE 400 BLOWS and Godard's BREATHLESS. To understand the cinema of Rivette, PARIS BELONGS TO US offers an appropriately characteristic or even perhaps idiosyncratic entry point into Rivette's distinct film world.

In the post-screening talk on Rivette's THE NUN on 18 June, Sonia Au discussed the scandal that arose when the film was banned by the French Minister of Information in 1966. Rivette's film is a faithful adaptation of Diderot's novel, but he changed the ending to make the audience contemplate about the question of freedom.

PARIS BELONGS TO US: http://cinefan.com.hk/cms/film/paris-belongs-to-us/