Released within the same calendar year, Chilean filmmaker Sebastián Lelio’s fifth and sixth features boldly anchor their focal points onto people from marginalized spectrum and ethnic minority, and present two intimate character studies in which fortitude surmounts adversity.
Very touching. Amazing acting from Vega. It's appalling how the ex-wife and son of Marina's lover treated her, and it's horrible that this is still how many trans folk are still treated.
Marina yields and yields, but was insulted and refused again and again. And her wishes were so humble, just the dog and seeing her lover one last time.
看完《幻想中的女人》(Una Mujer Fantástica,2017)后,我认为塞巴斯蒂安-莱利奥试图通过借助艺术手法和具象符号讲述一个最传统的故事,来刻画一个平凡而神奇的变性人,她的内心挣扎,以及她在智利社会的地位。
玛丽娜在整个故事中面临着三层压力。首先,是她焦虑地需要寻求他人的保证来加强她的自我认同;第二层是与她的爱人奥兰多的前家庭疏远的压力;最后一层无疑是对他人的恐惧和变性恐惧的压力,伴随着智利社会中无处不在的各种敌对情绪。
在个人层面上,玛丽娜有充分的自我认同
相比中国内地将片名从西班牙语的“Una mujer fantástica”翻译成“普通女人”,台湾版的“不可思议女人”和香港版的“神奇女郎”在某种程度上其实更能直接表现电影所要传达的意义,毕竟将“Una mujer fantástica”直译,该是“一个很棒的女人”,这个“普通”女人,其实一点也不普通。如果没有同性恋和跨年恋的标签,电影《普通女人》真的是一个再普通不过的故事,一个女人和一个男人正在筹划着结婚的事宜,男人不幸猝死,原配家庭收去男人的财产,并且阻挠这个第三者参与男人葬礼
《普通女人》不思議女人(Una mujer fantástica,2017)
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