巴勒莫狂花 Via Castellana Bandiera(2013)
简介：
- 故事发生在位于意大利的巴勒莫，罗萨（阿尔芭·罗尔瓦赫尔 Alba Rohrwacher 饰）和自己的女友卡拉（艾玛·丹特 Emma Dante 饰）之间的感情正濒临破碎的边缘，两人又一次因为某些分歧而疯狂吵架，这让坐在车里的罗萨有些崩溃。那边厢，萨米拉（伊莲娜·科塔 Elena Cotta 饰）在不久之前失去了自己的女儿，白发人送黑发人的痛苦让她本就刚强的个性变得更加古怪起来。
演员：
影评：
- 在电影《巴勒莫狂花》里只有两句台词的伊莲娜·寇塔，以82岁之龄，凭着戏剧演员的舞台经验，凭着眼神、肢体动作终获得了70届威尼斯国际电影节的影后。
电影故事发生在意大利西西里岛首府巴勒莫。了解意国风情的人，必是听说过意大利南部本就有“意大利永不落幕的舞台”的说法，因此这个戏剧化的故事发生在巴勒莫，贴切感十足。
两个开着车的女人在小巷中狭路相逢，互不相让。于是，她们开始了一场对持战。这便是故事的全部。然而有趣点除了这个主线情节外，还有围绕这场对持，周边人的反应。有长舌的人，有乘机妄图发财的人，有壁上观的人，有明明和当事人关系这样亲密却无能为力的人……每个人都在不断把这场两个人的“战争”扩大，每个人都是“从犯”。
生活中，一些发生最坏结果的事情，往往待到事态不可收拾时，回头一看，才发现原点是一些并非不可原谅和化解的小事。 电影中，我们跟着两个开车的女人在感觉超级窄的巷子里狭路相逢，在大半时间里，观众在引导下一直觉得这条小巷是如此拥挤。然而，在临近片尾，随着导演将镜头拉远，观众这才发现所谓的窄巷并不拥挤，足够两车借道而过。顿时，这场针尖对麦芒的对持突然显得莫名其妙，没有必要。
罪恶不仅在于各有境遇和立场的人为一点互不相让而引发最坏的结果，而且在于周边人的推波助澜。最后一幕中，出现了一批又一批奔跑着追逐滑向深渊的车子的人。导演在这里安排了一个隐喻：他们跑向“深渊”，他们也跑向地狱。这个地狱是他人的地狱，也是自己一手造就的地狱。地狱的深渊吞噬一切参与造就了它的人。 - A Street in Palermo (Via Castellana Bandiera): Venice Review
by Deborah Young
Sicily has recently been named one of Europe’s least productive regions, which will come as no surprise to viewers of A Street in Palermo, set in an outlying area of Palermo so poor it hardly looks like Europe at all.
The film bow of acclaimed theater director Emma Dante is the relentless tale of a two-car traffic jam that could more profitably have been written as an absurdist stage play; as a one-location film animated by incessant handheld camera work, its battle of wills quickly turns tedious.
Though some offshore fans of Italian art films may well enjoy an hour and a half of slumming in a colorful local setting, an unfortunate side-effect of the film’s cruel depiction of locals is to reinforce stereotypes of poor Sicilians as beer-bellied brutes cruisin’ for a bruisin’ and more than willing to sell their grandmother for money. Italians will probably read the film as farce and an outcry against under-development in the south.
In any case, the heart of the film is exquisitely theatrical: the psychological duel to the death between two extraordinarily stubborn women, who face off in their cars in an alleyway too narrow to pass. Neither one agrees to back up the short distance necessary to let the other by. In one car are Rosa (Dante) and her passenger Clara (Alba Rohrwacher), a gay couple on the verge of breaking up. In the other is the Calafiore family, a mass of wailing kids, harried parents, a brutish paterfamilias (Renato Malafatti) who literally considers himself the king of the road, and in the driver's seat his former mother-in-law Samira (Elena Cotta), an ancient, frail old lady whose iron will he exploits for his own purposes.
Early scenes of Samira tending her daughter’s grave in a neglected cemetery help stage thesp Cotta impart sympathy and substance to the mysterious Samira, who has barely a line of dialogue in the whole film. From an ethnic Albanian community even poorer than the residents of Castellana Bandiera street, she has only the affection of her young grandson Niccolo (newcomer Dario Casarolo) to make life human. Yet her very interior performance contains glimmerings of humor that tie it in to the absurdity of the macho menfolk vacuuming up the pasta.
Behind the wheel of the other car, in contrast, is one of the most unpleasant protagonists in memory. Rosa’s only excuse for being bitchy, abusive and ready to kill or die on a senseless whim is that she was a lonely child growing up in similar circumstances of social and cultural deprivation. Considering she has the pretty, good-tempered Clara at her side, it’s hard to rationalize her angry self-hatred and she remains a very difficult character to digest.
Sporting a cringe-worthy gutter punk look, including a tattoo running from her ear to her fingertips, Rohrwacher gives a lively, reliably solid performance as Clara, a talented illustrator always doodling in her sketchbook. These two modern young women have so little to do with Samira’s world that their physical impasse in the cars feels like it’s metaphoric, though it’s hard to say of what.
The handheld DV camera rarely pauses in its bee-like flight from object to object. More interesting is the conceptual use Dante makes of the street itself, which in the early scenes is extremely narrow and walled-in. It gradually widens in preparation for a highly symbolic finale, to the swelling notes of a soul-searing Sicilian ode sung by the Mancuso Brothers, the only music in the film.
Venue: Venice Film Festival (competition), Aug. 28, 2013
Production companies: Vivo Film, Wildside, Offside, Venture Film, Slot Machine in association with RAI Cinema, RSI, SRG SSR
Cast: Emma Dante, Elena Cotta, Alba Rohrwacher, Renato Malfatti, Dario Casarolo, Carmine Maringola, Sandro Maria Campagna
Director: Emma Dante
Screenwriters: Emma Dante, Giorgio Vasta with Licia Eminenti, based on Dante’s novel
Producers: Marta Donzelli, Gregorio Paonessa, Mario Gianani, Lorenzo Mieli, Elda Guidinetti, Andres Pfaeffli, Marianne Slot
Director of photography: Gherardo Gossi
Production designer: Emita Frigato
Music: Mancuso Brothers
Costume designer: Italia Carroccio
Editor: Benni Atria
Sales: Films Distribution
No rating, 93 minutes. 这个故事发生在一个我需要百度一下才能找到的地方。
整个故事完全发生在一条街道上。
这个故事叫，“此车是我开，此路我先来，要想过此路，你倒车再来”。
两个主角拼了个你死我活，死了一个，偏偏叫人悲伤不起来，反而觉得是个喜剧。
这就是《巴勒莫狂花》。
仅仅看名字的话，我本做好了会看到《末路狂花》那样悲壮情节的心理准备，可偏偏导演准备的是一出脍炙人口的讽刺小品，辛辣爽口让人欲罢不能。一老一少的角色组合以及对世间百态的嘲讽赞同让我觉得它完全可以比拼《中央车站》。在未来的人生中我们都会彼此相忘，但这段难忘的旅程绝对会铭刻在心中。
观看本片时我对它的理解一直在变化，乍看之下虽是最简单不过的家长里短闲言碎语，中下层阶级小老百姓的生活百态，导演精妙的镜头之下几乎扭曲了时间和空间，将一个普通的上班族路上经过连看一眼的闲心都没有的故事讲的意味深长生动有趣之余颇令人肃然起敬。
更牛的是，两个主角始终一言不发，她们的沉默与周围人的恬噪形成鲜明对比。一件偶然的突发事件，几乎让这个看起来很有贫民窟相貌的窄街道居民兴奋的血液沸腾，人们或是三五成群好言相劝、或是大打出手肚破血流、或是豪气下注堵谁先让、甚至各怀心思言语哄骗，这样热闹非凡的小市民架势似乎只有在多年前看过的《电话亭》中出现过。两位主角虽然显得格外孤独，却意志坚定身体力行让人不得不肃然起敬。
最重要的是，前半段导演刻意将镜头拉低放远，白天的烈日之下着意增添燥热不安的气氛，街道看热闹的人非常之多，且在特写镜头居多的情况下，成功营造了巷子很窄只是单行道的假象，虽然一个多嘴的女人说这的确是双行道，但导演的镜头依然强烈的让人感觉到她们唯有后退才能各自找到出路。直到夜深人静的时候导演终于给了这条小巷不含美图啪啪式的自拍，朴实的揭露了真相：这条街宽的跑三辆小车都绰绰有余！她们只要互相让一点点就可以了！
然而前半段的铺垫让人就像挥走一只苍蝇一样挥走了这个细节，街道宽否不重要，谁能先到家不重要，谁后面排的车更多也不重要，谁身上被下的赌注多更不重要，像黄四郎听到的答案，“没有你对我很重要”。两个女人贯彻的完全是日本的武士道精神，将这次堵车视为一场攸关尊严、人生等等重要事情的决斗。她们严谨的遵守这场决斗中每一个环节的规则，扔掉食物倒掉水憋到尿裤子锁好车门也要公平公正的让这场对决不添加任何防腐剂。这样固执的视彼此为势均力敌的对手，一场近乎玩笑的较劲也变得如人生大义般难以取舍以致以死相博且行为坦荡，也算是知己难求了。
武士道有义，她们的义理是抗争到底；武士道有勇，她们敢挡道敢撞车；武士道有仁，中年女人看到老年女人身体不行忙开开灯救助；武士道有诚，一方扔掉水和食物另一方马上效仿却不偷奸耍滑；武士道有名誉，她们要倔就要一犟到底绝不畏缩将就；武士道有克己，两个女人忍耐身体所需的一切生理需求活活扛了一天一夜。
终于老年女人体力不支舍生取义死在了车里，中年女人倒车离开，老年女人压倒性的胜利震撼了整个村落。
一开始我以为这仅仅是在讽刺小市民的无聊顽固以无意义的行为度过自以为有意义的人生，两个女人一个与女友吵架、一个祭奠死去的女儿，糟糕的心情和平日的不如意完全因为一次堵车而大爆发，所有的不满、痛苦都要发泄在这场对决之中，似乎胜利的逼的对方倒车就能让所有烦恼随着对方的车子而离去，尽显小市民的猥琐负能量心态，损人不利己的事情总能让他们无聊的生活平添一分胜利感。
然而她们的对决是公平的，是诚恳的，是有意义的，和局外人一样，她们压下了自己一生所有的运气和尊严，是平淡如水甚至枯燥苦闷的人生中唯一一次有意义的战争。她们是两名战士威风凛凛的守卫着自己的国土，车子让不让不仅仅是道德线规定的宽容礼让谦虚友爱等等和平原则，时间越久，便掺杂了越多的拼搏、激情、惺惺相惜等等情感。如果因为同情对方而先让了车子，反而是轻视和侮辱，唯有全力以赴以命相搏才能实现一刻活着的意义。
两位主角一个是中年女人丧母，一个是老年女人丧女，且都和失去的亲人不和睦，她们对决之时也许会想到和自己亲人各执己见时的热闹。旁人永远不懂她们掩藏在深处的痛，这场对决又何尝不是一次情感回味？
老女人死后中年女人开车离开，老女人的尸体僵硬无法踩刹车，男人们又顶不住车子导致带着老女人尸体的小汽车一路下坡滑远，此时我甚至有些想为她叫好，想必她被人鄙夷欺辱孤苦的一生从未如此自由畅快。之后的结局是一个长达8分钟的固定长镜头，形形色色人们纷纷跑向车子滑走的方向，一波又一波，知道事情的和不明真相的，想跑到前面和着急跑不快的，鞋跑丢了都顾不上捡的，看见别人跑生怕自己错过好事也不要命狂奔的，腿瘸者也加入了这一行列，甚至母亲嫌两三岁的孩子跑得慢自己先一步跑了的。
落在最后面跑的是一条狗。
巴勒莫狂花引出的巴勒莫狂欢。
