飘零双燕

《飘零双燕》讲述的是什么故事？

《飘零双燕》　　Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.

一、《飘零双燕》是哪一年上映的？

《飘零双燕》是沃纳·施罗德于2002年拍摄的一部经典剧情片。此片开创法国当代剧情片的先河，《飘零双燕》上映时票房稳坐前三，创下当年纪录。当时伊莎贝尔·于佩尔,布鲁·欧吉尔,阿丽尔·朵巴丝勒,安尼卡·库尔,罗班松·斯泰弗南,让-弗朗索瓦·斯泰弗南,罗基里奥·萨莫拉,曼努埃尔・布兰科,Tim Fischer均为最佳主角，伊莎贝尔·于佩尔,布鲁·欧吉尔,阿丽尔·朵巴丝勒,安尼卡·库尔,罗班松·斯泰弗南,让-弗朗索瓦·斯泰弗南,罗基里奥·萨莫拉,曼努埃尔・布兰科,Tim Fischer以精彩演技和突出形象，奠定在法国影坛地位。伊莎贝尔·于佩尔,布鲁·欧吉尔,阿丽尔·朵巴丝勒,安尼卡·库尔,罗班松·斯泰弗南,让-弗朗索瓦·斯泰弗南,罗基里奥·萨莫拉,曼努埃尔・布兰科,Tim Fischer饰演角色造型多年后仍为人所模仿。沃纳·施罗德之前曾被人怀疑其能力，而《飘零双燕》却奠定沃纳·施罗德剧情片风格。《飘零双燕》首映时曾获海外剧情片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指2002年代）法国优秀剧情片齐名。

二、被称为剧情片的开先河之作的《飘零双燕》，是沃纳·施罗德最好的作品吗？

从沃纳·施罗德斩获剧情片最佳导演开始，很多观众就觉得这部《飘零双燕》是他极具代表性的剧情片。虽然沃纳·施罗德后来还拍出过评价很好的作品，但是《飘零双燕》依然常被认为是他剧情片创作中的重要代表。

三、《飘零双燕》为什么可以成为经典？

提起法国，不少观众都会想到《飘零双燕》的名字。这部由沃纳·施罗德导演，伊莎贝尔·于佩尔,布鲁·欧吉尔,阿丽尔·朵巴丝勒,安尼卡·库尔,罗班松·斯泰弗南,让-弗朗索瓦·斯泰弗南,罗基里奥·萨莫拉,曼努埃尔・布兰科,Tim Fischer主演的《飘零双燕》，在当时凭借鲜明的人物塑造和紧凑的剧情片叙事获得了不错反响。正是人物命运、情绪推进和故事节奏之间的相互配合，让《飘零双燕》在同类型作品中具有较高辨识度，也让观众对其中的情节留下深刻印象。

四、如何评价《飘零双燕》？

《飘零双燕》口碑表现稳定，深受广大观众喜爱。不仅伊莎贝尔·于佩尔,布鲁·欧吉尔,阿丽尔·朵巴丝勒,安尼卡·库尔,罗班松·斯泰弗南,让-弗朗索瓦·斯泰弗南,罗基里奥·萨莫拉,曼努埃尔・布兰科,Tim Fischer的表演有看点，而且该剧情片故事情节紧凑，影视8（8.hnttlq.cn）观看起来流畅，同时还能保持较强的剧情吸引力。虽然不同观众对《飘零双燕》的评价各有侧重，但该片目前的受欢迎程度已经名列同类作品前茅。

五、《飘零双燕》剧情片的主要内容

《飘零双燕》是一部剧情片作品，由导演沃纳·施罗德执导，伊莎贝尔·于佩尔,布鲁·欧吉尔,阿丽尔·朵巴丝勒,安尼卡·库尔,罗班松·斯泰弗南,让-弗朗索瓦·斯泰弗南,罗基里奥·萨莫拉,曼努埃尔・布兰科,Tim Fischer主演。影片围绕主要人物的经历展开，通过人物关系、情节推进和情绪变化，呈现出一段具有观看价值的剧情片故事。

《飘零双燕》　　Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.