《愛(ài)情生活》是一部以當(dāng)代日本為背景的電影，講述了妙子和她的丈夫二郎以及他們的兒子敬太的故事。故事開(kāi)始，妙子的生活平靜而幸福，直到一場(chǎng)悲慘的事故將多年未見(jiàn)的敬太的生父樸帶回了她的生活中。樸是一位聾啞人，無(wú)家可歸。妙子決定幫助他，以彌補(bǔ)自己內(nèi)心的痛苦和內(nèi)疚。她開(kāi)始與樸建立起一種特殊的關(guān)系，通過(guò)手語(yǔ)與他交流。隨著時(shí)間的推移，妙子發(fā)現(xiàn)自己對(duì)樸產(chǎn)生了特殊的感情，開(kāi)始懷疑自己與丈夫之間的關(guān)系是否真的幸福。然而，妙子也深知自己的家庭和兒子是她生命中最重要的一部分，她不愿意傷害他們，因此她選擇了放棄自己內(nèi)心的愛(ài)情，繼續(xù)過(guò)著婚姻和家庭的生活。這部電影通過(guò)展現(xiàn)妙子內(nèi)心的掙扎和選擇，揭示了現(xiàn)代社會(huì)中人們?cè)趷?ài)情和婚姻之間所面臨的困惑和抉擇，同時(shí)也讓觀眾思考自己的內(nèi)心真正渴望的是什么。電影以細(xì)膩的畫面和真實(shí)的情感打動(dòng)了觀眾，讓人們對(duì)愛(ài)情和家庭有了更深入的思考。這是一部感人至深的電影，值得一看。

（在letterboxd上用英文和中文混著寫的，懶得翻譯了，反正電影本身就是關(guān)于語(yǔ)言和語(yǔ)言之間的距離的，那就不翻譯了。）

Favorite scene - Taeko sitting in the tub, naked, submerged in water, with Park sitting outside of the tub next to her. That was a really tender scene. Also the scene when it was earthquake and Taeko went to protect the last game that her son played. 那個(gè)殘局的fragility真的很讓人印象深刻。

The ending could have been better.... Could have ended with the scene of Taeko standing in the rain at the wedding, with her back turned so that there’s also a distance inserted between us and her. 又是一部電影關(guān)于untranslatability, alienation, 以及self 和other之間的ontological distance。 說(shuō)同一種語(yǔ)言的人和人之間的距離，說(shuō)韓語(yǔ)與說(shuō)日語(yǔ)，言語(yǔ)表達(dá)和手語(yǔ)（這里的距離讓我覺(jué)得很神奇，這個(gè)距離不只是來(lái)自于會(huì)不會(huì)打手語(yǔ)，而是“打”和“說(shuō)“之間的一個(gè)fundamental difference。一個(gè)是language based的語(yǔ)言，一個(gè)加入了身體，動(dòng)作，力度，表情，好像更加affective），能聽(tīng)見(jiàn)和不能聽(tīng)見(jiàn)（比如婚禮那里其他人在隨著音樂(lè)跳舞時(shí)Park無(wú)法跟隨節(jié)奏一起搖擺），還有文化和文化之間的距離，等等等等。除此之外還有比較meta的我們作為觀眾和電影角色的距離（不知道在想什么，沒(méi)法access她看到的），因?yàn)樽帜坏娜笔Ф械木嚯x。通過(guò)語(yǔ)言和語(yǔ)言的untranslatability導(dǎo)演想要指向人和人之間的ontological distance，self和other之間的gap必須會(huì)是一個(gè)鴻溝，是空白，然后問(wèn)題便是到底該怎么看待這個(gè)distance？似乎導(dǎo)演的結(jié)論是需要make peace with that gap，love生長(zhǎng)于這個(gè)空白之中（并非是一種romanticized love），這是他想要表達(dá)的，但我覺(jué)得結(jié)尾并沒(méi)有很好地carry out這之中的subtlety，而只是用“回歸了某種平淡的生活”替代。

Also - Apparently its not a female director & not from a female perspective, even though the main character is female and the director seems to have made the effort to 'touch on' certain female perspective..... Welp. The alienation that he attends to is more of a 'gender neutral' alienation.

But that scene at night, when the shadow of Park's hand doing sign language being cast onto the wall under the moonlight/streetlight. That was beautiful, and so sad. :( I cried multiple times in this film, not because of the film text itself but cuz that alienation because of language and cultural differences is too familiar to be true. Even if we speak the same language, even if we speak the same native language. 愛(ài)的確生長(zhǎng)于這個(gè)距離和空白之中，對(duì)他者的愛(ài)與對(duì)于自我和他者之間的距離的焦慮/恐懼/悲傷交織在一起，這種‘愛(ài)’并非浪漫里的愛(ài)，這種愛(ài)感覺(jué)也是synonymous with ethics，這是一種ethical relationship with the Other. Idk, 至少for now我不想deny這種愛(ài)的核心對(duì)我來(lái)說(shuō)是某種悲傷，but still we can make peace with it no? To appreciate that gap.

One final thought - drive my car, decision to leave, love life. Why films I watched recently all have this theme of untranslatability lol. Oh also that gap between languages, in the words that cannot be translated/meanings lost in translation, it opens up an interesting space in between. A space of much potential! Sign language & body is also another thing can be more explored.