一首關於愛與故鄉的挽歌

An elegy for love and hometown : <The Long Confession> as a poetic film

張律導演的作品具有不多見的詩歌電影品性。影片《漫長的告白》在詩意和感染力方面，表現出了一位亞洲導演以電影作為抒情詩的創作特色。影片中選擇了柳、梅、河川等重要的文化意象，為電影語言增加了以東方意藴為基調的詩境。由此，語詞本身的多義特徵、時間和空間在記憶與現實之間轉移，成爲劇中人物内心世界的投影。片中出現了漢語、日語、英語和韓語，這些語言交錯呈現，作爲認同的暗喻符號，勾勒出人物之間相互認同和理解的圖景。而對於故土和父母形象的模糊化處理，則為這部影片增加了原鄉與離散的文學主題氣息。在諸多共有的東亞文學語境中，故土記憶的裂痕與異鄉漂泊的認同相互疊加，塑造出一種無處是故鄉、又無處不是故鄉的離愁。張律導演在這部電影抒情詩的探索中，以抽離了宏觀視角的個體化小敘事手法，在時空中、在原鄉和異鄉之間營造了一個關於愛與人生、關於故鄉與離散的夢境。

Director Zhang Lv's works have a kind of rare quality of poetic films. In terms of poetry and appeal, the film “The Long Confession” demonstrates the creative characteristics of an Asian director who uses film as a lyric poem. Important cultural images such as willows, plum blossoms, and rivers were selected andblended into the film, adding a poetic realm based on oriental connotations to the film language. As a result, the polysemous characteristics of the words themselves, time and space are transferred between memory and reality, becoming a projection of the inner world of the characters in the play. Chinese, Japanese, English and Korean, these four languagesappear in the film. These languages are intertwined and used as metaphors of identification to outline a picture of mutual recognition and understanding between the main characters. The blurring of hometown and parents brings a literary theme of separation to this film. The director built a common context withmany East Asian literary images, aims at creating a very special psychology space, which shows that it seems hometown lies everywhere, but also you will figure out that it is really difficult to confirm where is your hometown. In the exploration on poetic style, Director Zhang Lv used an individual narrative technique that abstracted away the macro perspective to create a dreamland about love and life, about hometown and separation.