1993
Academy Awards (Oscars)
最佳女配角提名
Directed by 路易・馬盧
最佳女配角提名
《烈火情人》最令我感到悚然的，不是背德縱慾、暴烈的性，而是像蛇一樣的，堅毅地冷。對我而言，電影中狂野、綿延的性愛場景，完全無法挑逗人們的非分之想，無法增生人們的戀慕企求。我完全沒有辦法相信，可以任它將自己帶走，或者帶進一個，已經準備好向你展示所有從未幻想過的世界。 沒有高潮，亦沒有篤定。沒有那個隨著膚觸的翕張，逐漸構成的燒灼，沒有那個有各種意義的形式，廓成的歡愉、淋漓，或是魅惑。你們在那裡面，以為主導了所有，可以重新啟動另一個人生，重新活過一次，辨識以為的深邃，織作出響亮的溫度，塗寫清明的穿越。 不是這樣的。你們以為你們愛過，其實並沒有。你們朝彼此看過去，但其實只是看著空洞，以及看似確信，卻是徹底虛無的眼神。你們迷戀著、著魔著，一度以為可以打開錯落過的曾經，填裝巨大的陷落，拾取早已被絞碎的腐敗。然後，可以走進對的旅程。而現實的局面是，穿透不了的折磨，被圈住的恐怖與吞噬。 Louis Malle曾說：「 每部電影都是一段生命和冒險。它表達我當下關注的事物，就像談了一場戀愛。無論電影或愛情，我是相信一見鍾情的人。」我也始終深信，會有一個人，就這樣走進來。走進戲院前，我試圖死命地掙扎著：是我想錯了、我可以推翻自己。然而，走出戲院時，我仍舊沒有辦法相信你們曾經愛過對方。為此，我感到極度的悵然和失落。 從無愛開始，在無愛結束。有的，只是成全了自己原有的樣子，那個從來沒有愛上彼此的自己。
Love can bear the sweetest fruits, or plunge life into the deepest abyss. How do you face the questions that love brings? Will you choose to move forward hand in hand with your partner— or walk away, once and for all?
Philosophers have long used ideas like yin and yang or lightness and weight to explain the makeup of the world. Here, I’d like to offer my own theory: the world is made up of big trees and little squirrels. The big tree stands silent, steadily pointing toward the sky. The squirrel darts between the branches—lively, charming, constantly complaining, and just a little annoying. As for me, I’m more like a complicated machine. Beyond the forces of family background and social conditioning, my free will flickers—barely there, yet stubbornly refusing to give in. Pulled in both directions, my mind constantly sways between the tree and the squirrel. That’s why I’m often drawn to films with depth and gravity—stories grounded in the weight of personal histories and quiet resilience. And especially when I come across characters who are even more chaotic squirrels than I am—that feeling of comfort? So real. So good
The erotic classic The Lover boldly pushes the boundaries of sensual cinema. Freaks blends horror and surrealism into a provocative spectacle of visual violence and beauty. In In the Realm of the Senses, an unforgettable depiction of suffocating, all-consuming desire secures its place in film history. In Oasis, two marginalized individuals find a love purer than anything the world around them can understand. And in Merry Christmas, Mr. Lawrence, Ryuichi Sakamoto and David Bowie share the screen—and a legendary, forbidden kiss. These films dare to confront desire, taboo, and tenderness—through shock, poetry, and unforgettable images.
Humans pride themselves on being "rational animals," yet in waving the banner of reason, how often do we overlook the passions and turbulence that defy reduction? Are our actions truly as orderly and logical as we believe? At what point does the pursuit of order and truth tip into the realm of madness? Perhaps "strangeness" is an essential part of being human — and the boundary between reason and insanity is far thinner than we imagine.