(This article was originally produced by Sir Films: dushetv)
Last weekend, fans set their sights on the Venice Film Festival awards ceremony.
On the same day, there was another news worth paying attention to -
A new film by the literary goddess Juliet Binoche was revealed, directed by Naomi Kawase.
It's so rare.
In your film career, you must have been fascinated by many goddesses, and the movie has sealed their amazing side for us.
But if you think about it, how many are still active on the screen and maintain amazing creativity?
What is the goddess of the goddess, this time it is seen -
Juliet Binoche
Juliette Binoche
An unquestionable "acting demon".
She took all three film festivals (Cannes, Berlin, Venice).
A non-stop "World Cinema Traveler".
Before working with Japanese director Naomi Kawase, Juliet Binoche's film footprints had already spread all over the world.
Santiago Amigorina's Days in September (Argentina), Hou Hsiao-hsien's Red Balloon (Taiwan), Amos Gite's Evacuate the Gaza Strip (Israel), Abbas Kiarostami's Legal Copy (Iran), David Conanberg's Metropolis (Canada).
She is also the "most expensive" actress in France.
But she was so free and pluralistic that she didn't need to be bound to France.
Sir first saw Juliet Binoche in Love in Prague.
The title is exotic (relative to France) and is based on Milan Kundera's novel The Unbearable Lightness of Life.
There's a scene in the movie —
She held up her camera to the painter (her lover's former lover), wondering if she was taking pictures, snooping, or hiding her tearful eyes.
She was overwhelmed by the beauty of the other.
And the way she looks in front of the camera, she is also beautiful.
In this era of developed networks, beautiful faces naturally have the power to spread. But the kind of beauty that is worth staring at repeatedly is not just beautiful.
It is the superposition of multiple meanings.
The story of the film, the observation of the director, the character of the actors, even the emotions when you watch the movie... It is possible to project it.
If it is not associated with the movie, just watching Juliet Binoche, perhaps many people will not be amazed by her beauty.
In France, there are too many beauties.
Isabelle Adjani always has a kind of "little trepidation" in her eyes, which is unforgettable.
The french lover in the shirt, Sophie Marceau, is also too classic to smile.
Juliet Binoche, not outstanding in appearance or stature.
She even said, "Never knew what I looked like."
Because there was no mirror in the family since childhood, only to learn that she wanted to be an actress, her mother said a blow: "Acting is not just beautiful."
That made her realize, oh... Turns out I'm pretty good-looking.
Honestly, Juliet Binoche's face was flat.
But what makes this face extraordinary is that—
It can make a variety of characters "grow" on it.
You must remember that many of her classic images are short hair.
Short hair, for many actresses is a sign, a kind of human design.
For example, Sun Li's ability and neatness, Zhou Dongyu's frankness and agility.
And Juliet Binoche is probably the only actor Sir has met who can interpret a very different temperament with short hair.
Faces that are not personal enough, but leave enough space for different characters (characters) -
Vibrant, flushed face, bright girlish eyes.
The helplessness and emptiness of a lost woman.
The cunning and elegance of the mysterious strange woman.
The frustration of a mature single mother.
"Prague Love", "Blue", "Legal Copy", "Chocolate"
Her beauty cannot be seen only by looking at the face, but also by the situation.
The screen goddess Juliet Binoche that we fell in love with is actually a superposition of many moving characters.
There are many abnormal, extreme, and contradictory roles.
In Sir's opinion, her life capacity is amazingly large.
That's why she's been able to handle so many roles and still has a steady stream of artistic vibrancy.
Juliet Binoche's acting skills are not cultivated by the regular training of the drama school.
It's a habit from an early age.
One is that the parents are actors, and the atmosphere is affected.
Second, when her parents divorced when she was 4 years old, the precocious Juliet also understood the first essence of the performance - pretending.
Yes, a good performance must go straight to the true face of the character.
Because in reality, no one can live completely naked. A good performance not only has to show the heart, but also has to perform that layer of pretense.
This, little Juliet Binoche had learned.
I don't go to school well, I like to make trouble in class, laugh or make others laugh.
Naughty is unintentionally pretending, in fact, she wants to get care and attention.
The desire to perform is exuberant, and he is willing to "become another person".
You have to keep your life in your heart so you can pretend to be someone else and even act as if you're playing between classes.
The same laugh, Juliet Binoche understands the different meanings.
wholehearted.
The smart and kind lady of the chocolate shop, shallow mouth forgives the mayor who came to "smash the field".
His eyebrows moved, and he obviously smiled sincerely.
Chocolate
hypocrisy.
The lady owner of the antique shop, sitting opposite, is a (male) person who makes her slightly cramped but wants to "please".
The small first-class movements that were always shaking involuntarily revealed that she wasn't really smiling, it was just a way to make her relax and be friendly.
Legal Copy
embarrassed.
The small actor who is not happy with the outside world, after returning to the territory where he can be a mighty blessing, is arrogant.
Unexpectedly, her brother, who had always been weak, actually complained to her face, at this time, she tried to hide her surprise but actually failed.
It's an awkward laugh that thinks it's perfectly masked.
"Mar Rutte"
And the sad emotions are played by her with unlimited imagination space.
Take, for example, The Blue, which impressed Sir the most, and which Juliet Binoche herself was most satisfied with.
The plot is simple.
A woman, because of a car accident without her husband and children, can only live alone.
The film documents her journey from death-seeking, self-isolation to accepting pain and then continuing with a normal life.
The story does not have too many twists and suspense, but the emotional changes in "How to get out of the predicament" are the most complete, energetic, and at the same time the most moving of all juliet Binoche's works.
After cleaning up the belongings of her husband's children and disposing of everything, she left her former home without looking back.
As she passed a city wall, she clenched her fists and walked against the rough wall.
There is also a scene in the movie where Sir is distressed to watch.
Juliet, who had been swimming in the pool for half a day, was about to go ashore, looking at the warm light coming from the shore, but hesitated.
She slid slowly into the water, like a floating corpse, motionless, with a large deep blue in the background.
He wanted to go ashore but was dragged back into the pool by grief. As you can tell from the small splash, her movements are very light.
This is probably the most silent and obscure expression of sudden powerlessness.
Even the occasional cameo, the commercial film "Godzilla," which receives a bento less than 15 minutes at the beginning, can make Quentin wet.
The first time I was in tears while watching a 3D movie, I had to take my 3D glasses off to dry my tears.
―Quentin Tarantino on Binoche's performance in Godzilla
Less than 15 minutes into the opening, Juliet Binoche plays the male protagonist's mother, Sandora, who accidentally lost her life due to a nuclear radiation leak.
Her husband was guarding the last hurdle and had to close the gate at the last moment, separated from Sandora by life and death.
Just as the second safety valve was about to close, her head and eyes followed the opposite direction of the second valve.
One more glance is one glance.
Isn't this silent little action more expressive than hysterical shouting?
Juliet Binoche is like a mirror that can "translate" the feeling in the director's mind, or the way the character should look in the audience's mind.
She can use her natural sensibility to fully enter the role, generate feelings from the heart, and then perform.
Perform things and moods that "can't get on the stage" and can't be spoken in words.
I am an actor, and I want to go deep into the trap of human nature, into her soul, into her body, into her doubts, into her shadows, into her madness. If you are not prepared to experience extremes, you are not ready to touch human nature.
She doesn't recite lines.
Instead, it is to "say" the lines from the heart, just like the characters.
It's not so much a performance as an experience.
Don't set limits for yourself, always yearn for the unknown.
Of the about 62 films she has starred in, she has collaborated with as many as 51 directors.
For Juliet Binoche, what to do is more worth trying than what to do. She doesn't want to waste herself, she doesn't want to consume, and every time she performs, she wants to create something new.
Movies are open doors, walking through every door, I want to change personality and life, I always live for the present, I accept adventures, I don't deny the past, but that is after all a page that has been turned over.
Juliet Binoche is the kind of person who pursues "living more".
Outside of the movies, she also wants to experience more of her life.
The result of 2 years of dancing practice, "The Depths of Me" global tour.
Painting from elementary school, every time I worked with a director, I used the painting to note the uniqueness of TA and held a solo exhibition in the gallery in Paris.
On the official poster of the 63rd Cannes Film Festival, she used a brush to erase a "63" trajectory.
She also wrote poetry and published a collection of poems, Portraits in Eyes.
Juliet Binoche's rich life also includes becoming a mom of 2 children.
Sir has always felt that a goddess-level woman like her, becoming a mother, should also be "top-level".
Sure enough, she said: The role of mom should be the easiest, but when you're busy at work, you also have to do your best to find ways to be the best mom you can be.
Mom, is another good role for Juliet Binoche.
Probably also the best.
Because she let her child's future role have more possibilities.
The picture in this article comes from the network
Editorial Assistant: Monica stayed
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