The Truth Review: A Warm and Quietly Moving Family Portrait 《真相》：温暖感人的合家欢影片

汤姆·摩尔 孟洁冰

After making a huge splash with his Oscar-nominated and Palme dOr-winning film， Shoplifters， writer-director Hirokazu Kore-eda returns with The Truth—his first film not set in Japan or in his native language. Rather， its a French family drama that follows Fabienne （Catherine Deneuve）， one of the most highly regarded actors of French cinema， who was beloved in her heyday. However， shes not beloved by all， as she has a problematic relationship with her daughter， Lumir （Juliette Binoche）， who holds a major grudge against her for putting her career before her family. Lumir， a screenwriter， lives in New York with her American husband Hank （Ethan Hawke）， a struggling TV actor， and their daughter Charlotte （Clementine Grenier）.

When Lumir and her family visit Fabienne in order to support her during the release of her “tell-all” book and her latest role in a sci-fi film alongside a rising young starlet （Manon Clavel）， ugly truths begin to come out， causing a less than warm reunion between mother and daughter. It sounds heavy， but Kore-eda blends a lot of the saddening drama of Fabienne reaching the end of her climactic days as an actor and Lumirs deep-seated anger towards her mother with refreshing humor.

Moments like Fabienne making Charlotte believe she has magic powers and can turn people， like her ex-husband and Lumirs father Pierre （Roger Van Hool）， into animals are very funny and even Hank attempting to follow along with everyone speaking French is just absolutely hilarious. Kore-eda creates a warmth through these moments thats very comforting and makes for a much more emotionally enriching experience. Not to mention， it helps ease some of the harsh tension of Fabienne and Lumirs fractured relationship and Fabiennes distorted view of the world.

Not finding the same kind of recognition and stardom she found before， Fabienne has become disillusioned with the film industry and incredibly self-centered. Shes constantly giving backhanded compliments towards Hank for “not being a ‘real actor” in her eyes， being petty towards the director and young talent of her new film and being unapologetic about her past mistakes. Shes basically the kind of actor that you hear is a total nightmare， however， Kore-eda also allows Fabienne a softer side and Deneuve is absolutely magnificent from start to finish.

Deneuve adds a personal touch and vulnerability to her performance that makes Fabienne （which is actually Deneuves middle name） so compelling to watch. Her stubbornness and refusal to see things outside of her own view is a perfect mask for her insecurities about her fleeting fame. Her vanity and inability to accept when people are better than her on set or that her actions have caused major ripples in her relationship with Lumir could make her easy to peg as a villain. Theres even a moment where Fabienne says that shes fine being a bad mother and a bad friend as long as being a good actress is right alongside it and it shows how warped her views have become. However， Deneuve and Kore-eda make Fabienne find the redemption and inspiration she needs through having deeper experiences with her family–even Hank–and it makes the final moments between Fabienne， Lumir， and her rising young co-star more impactful.

Binoche makes it hard not to empathize and feel all of the begrudging feelings Lumir has about Fabiannes new book because it only fleshes out “the truth” that her mother wants people to believe. Binoches performance will likely resonate with many viewers， as Lumir simply wants her mother to own up to her mistakes so she can find forgiveness and their relationship can improve. Its easy to see how the new film that Fabienne is in mirrors Lumirs issues with her mother and it makes for a very fulfilling tale about forgiveness and what we consider to be “the truth” of how we view our lives and other people.

Hawke is also great as a sort of compassionate family man trying not to be a total outsider by trying to gain the respect of those around him. Kore-eda utilizes him perfectly， as more of a genuinely uplifting part of the film who always gives off those perfectly good dad vibes that are just impossible to resist.

The Truth delivers the kind of comforting and compassionate family drama that any viewer can enjoy and will instantly warm your heart. It wouldnt surprise me to see The Truth help Kore-eda get back into the Best International Feature category at the Oscars or for Deneuve to get some well-deserved recognitions as well.

憑借得到奥斯卡奖提名和荣获金棕榈奖的电影《小偷家族》引起巨大轰动后，编剧兼导演是枝裕和携新片《真相》回归影坛，这是他第一部不以日本为背景也不使用其母语拍摄的影片。《真相》是一部法语家庭剧情片，讲述了法比耶娜（凯瑟琳·德纳芙饰演）的故事，她是法国电影界最受瞩目的演员之一，在全盛时期深受观众喜爱。然而，法比耶娜并非受到所有人的喜爱，她与女儿卢米尔（朱丽叶·比诺什饰演）关系并不和睦，女儿对她顾事业不顾家庭深怀怨恨。露米尔是一位编剧，她的美国丈夫汉克（伊桑·霍克饰演）是个苦苦挣扎的电视演员，他们与女儿夏洛特（克莱芒蒂娜·格勒尼耶饰演）住在纽约。

法比耶娜“无所不谈”的传记发行，最近与影坛新星（玛侬·克拉维尔饰演）搭档出演一部科幻电影，卢米尔带着家人前来探望以示支持，此时丑陋的真相开始浮出水面，让这场母女重逢变得一点都不温馨。这个故事听起来很沉重，包含法比耶娜身为演员的辉煌岁月走到尽头、卢米尔内心深藏对母亲的怨恨等伤感的剧情，但是枝裕和在许多这样的剧情中融入了清新的幽默。

有些片段颇为有趣，比如法比耶娜让夏洛特相信她有魔力，可以把人们，比如自己的前夫、卢米尔的父亲皮埃尔（罗杰·范·胡尔饰演）变成动物，汉克试着跟大家一起说法语的桥段也极为搞笑。是枝裕和通过这些片段营造出令人欣慰的温暖感觉，带来更多丰富情感的体验。更不用说，这多少也缓解了由于法比耶娜和卢米尔关系破裂以及法比耶娜世界观扭曲造成的紧张气氛。

由于没有得到以前的那种认可和明星地位，法比耶娜对电影行业倍感失望，变得极其自以为是。她总是暗含讥讽地夸奖汉克，因为在她眼里，汉克“不是一个‘真正的演员”;她对拍摄新片的导演和年轻演员态度苛刻，对自己过去的错误毫无悔意。基本上，她就是你听说的那种堪称噩梦的演员，不过是枝裕和也让法比耶娜流露出温柔的一面，而德纳芙从头到尾的表演绝对精彩。

德纳芙在演绎角色时增添了个人色彩和脆弱感，让法比耶娜（这其实是德纳芙的中间名）的形象非常令人信服。她性格偏执，拒绝接受自己观点以外的看法，这是她对自己的名气转瞬即逝感到不安的完美掩饰。她虚荣心强，无法接受别人在片场的表现比她出色，也不相信她的行为对她和卢米尔的关系造成了很大的影响，这可能让她很容易被当成反派。甚至有一回，法比耶娜说她可以做个坏母亲和坏朋友，只要做个好演员就行，可见她的观点已经变得多么扭曲。然而，德纳芙和是枝裕和联手，让法比耶娜通过与家人（甚至包括汉克）更为深入的相处，找到自己所需要的救赎和灵感，也让法比耶娜、卢米尔和她崭露头角的年轻搭档之间最后的戏份更具冲击力。

比诺什的表演让人很难不感同身受，很难不体会到卢米尔对法比耶娜新书的一切不满，因为这本书只是让她母亲希望人们相信的“真相”具体化了。比诺什的表演可能会引起许多观众的共鸣，因为卢米尔只是希望母亲坦白承认错误，这样才能得到宽恕，她们的关系才能得到改善。观众不难看出，法比耶娜出演的这部新电影在故事情节上和卢米尔与母亲的诸多问题颇为相似，这也是个非常有意义的故事，讲述了宽恕以及我们眼中认定的关于自己和他人的所谓“真相”。

霍克也出色地塑造了富有爱心的居家男人形象，他努力赢得周围人的尊重，不想彻底变成局外人。是枝裕和完美地发挥了他的作用，使他更多地充当了电影中真正令人振奋的角色，总是散发出完美父亲的魅力，让人无法抗拒。

《真相》是一部令人欣慰和充满关怀的家庭剧，适合任何观众欣赏，会在瞬间温暖你的内心。如果《真相》能够帮助是枝裕和再次角逐奥斯卡的最佳国际影片奖，或者让德纳芙获得一些应得的赞誉，我也不会感到意外。                      □