巴黎是我們的

作為導演首作，《巴黎是我們的》已經表現出積葵利維特在創作電影方面特立獨行的態度。神秘自殺的西班牙青年、走遍巴黎追查死因的文學少女、一齣在排演的莎劇、如黑影籠罩一切的陰謀論，寫照的是當時巴黎年輕一代於戰後的存在焦慮。

在7月10日的映後談中，朗天談到利維特此作既有法國新浪潮的作法，又跟高達、查布洛等人的同期作品迥異，儘管二人以至積葵丹美皆在片中客串粉墨登場。這回放映的修復版影像和字幕皆遠勝從前，一向為人詬病費解的人物和情節，原來其實清清楚楚。網頁上三篇英文的延伸閱讀，尤其是杜魯福寫的那篇，不可不看。

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

PARIS BELONGS TO US

As the feature debut of Jacques Rivette, PARIS BELONGS TO US already prefigures Rivette's cinematic style as a director. The complex romantic tangles, obsessions with conspiracies that may or may not exist, the city as playground, female relationships, theatre - nearly all of Rivette's life's work can be found in nascent form here.

In the post-screening talk on 10 July, critic Long Tin commented that Rivette's film has the radical flavors that define the French New Wave, yet his style is totally different from the debut works of his contemporaries, even though Godard, Chabrol and Demy all have cameos in the film. The newly translated subtitles for this restored version show that the film is meticulous and clear in its plot. Read the article by Francois Truffaut (in our further reading section online) and you'll understand how much he appreciated Rivette's film and his contributions.

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