丛林湾里虚幻的爱
看完电影真的感觉是丛林湾加强版
（新加坡同志电影《丛林湾》19分钟一名退伍军官拍摄一部纪录片，讲述多年前他在Tanjong Rhu私下遇到的一名男子。通过这部纪录片，他找寻着自己的归宿。 Tanjong Rhu丛林湾位于新加坡东海岸，是一片与世隔绝的海滩，也是男同性恋者的天堂。1993年，在一次军方的诱捕练习中，12名男子在那里被捕入狱并受到鞭刑。这部短片讲述的就是其中一人自那时起的经历。）
性爱和柏拉图之爱，哪一个是爱？
米歇尔(Michel)：性爱和杀戮是世上最快意的两件事，如果两者可以兼得的话，那就太完美了
亨利（henri）：性爱已经够了，我要纯粹的爱恋，我得到了，我愿意为你而死。
弗兰克（frank)：难道想和对方发生关系不是爱吗？爱不是从肉体开始的吗？
像所有的伟大的同志电影一样（断背山其实是说人生的遗憾，想做而未完成的事），同性恋剧情只是电影的载体》》》》》》》》》》》》未完待续
英文影评一：情节说得很透彻
When the young and attractive Franck (Pierre Deladonchamps) arrives at a remote lakeside beach somewhere in France, it’s with certain familiarity. Franck comes to the beach every day during the summer to swim in the lake, lounge on the sand, and sneak off into the woods to have sex with anonymous men.
Franck’s everyday schedule also includes talking with Henri (Patrick d’Assumçao), an older man of questionable-sexuality that stays just off of the cruising beach and stares at the water. Henri is Franck’s one true friend on the beach, but that changes when Franck first sees Michel (Christophe Paou), a strikingly masculine man with a thick Tom Selleck mustache that oozes 70’s sex appeal. Franck falls for Michel immediately, and finds himself unable to resist him even when he horrifically witnesses Michel go into the lake with a lover for a playful swim and return alone.
Writer-director Alain Guiraudie (“The King of Escape”) creates something of a Hithcockian thriller with the moody “Stranger by the Lake” – a film being lauded for its tone and whispered about for its explicit content. Indeed, the uncompromising rawness of the images may prove to be too much for some. An early shot of fully on-screen male ejaculation prompted a few immediate walkouts from the packed festival audience. Funnily enough, this shot directly precedes the game-changing murder scene that those more conservative viewers would find undeniably compelling.
Guiraudie does great work in building a sense of place in this glittering, sun-set laden, strangely eerie setting. All scenes take place within the confines of the lake and its surrounding beaches and woods, isolating us within this subculture we have voyeuristic access to.
“Stranger by the Lake” does feature graphic gay sex and pervasive, casual male nudity. The un-arousing, documentarian nature of these scenes works as a benefit by separating the film from the disposable late-night TV “erotic thriller” tag – this is the real deal. However, the sheer frequency of lengthy sex scenes hurt the film when they begin to stop enhancing the story at hand. The weight of any film’s scene choices needs to consistently be focused on storytelling, and I can’t help but feel that Guiraudie occasionally wanders into the territory of producing provocative images for the sake of pushing limits that aren’t always supported by the narrative.
strangers1
The most relatable (and often humorous) moments come about in dialogue between Franck and the lone wanderer Henri. These two have the type of person-to-person friendship that’s lacking in the lust-impulse driven beach cruising. Henri, having recently parted ways with his wife, talks quite openly with Franck about lonliness, sexuality, and how he thinks “real” homosexuals act. As the film cycles through each day at the beach, Franck scans the rocks that Henri sits on to see if he is there and it’s easy to want him to be there in hopes at getting a few more well-written scenes out of them.
The bulk of the second and third act is dedicated to building overwhelming tension as to whether Michel will murder the love-struck Franck before a local police inspector (Jérôme Chappatte) is able to catch on to Michel’s first crime. We wait, on edge for the moment that Michel asks Franck to go for a playful swim.
“Stranger by the Lake” is no simple erotic thriller, it will do well at every LGBT-centric competition it competes in (it has already won the Queer Palm award), and deserves attention outside of those confines as an all-around intriguing drama-thriller. Guiraudie is not completely free from a sometimes-provocative use of sex, but his film mostly works and has lingering atmosphere.
by Taylor Sinople on Oct 23, 2013
http://www.room101-102.com/movies/stranger-by-the-lake-review/
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英文影评二
Stranger by the Lake
For those who think of the Internet as the big bad enabler of a gay culture full of apathetic sex fiends perennially in cruising mode, Alain Guiraudie's Stranger by the Lake reminds us that there's nothing necessarily digital about the will to cruise ad infinitum. More significantly, it portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself—or the qualities that it promises. And though its characters have a fondness for barebacking, this isn't a film about HIV as fetish or as the ghostly monster hovering over gay sex. Desire itself, unattached to viruses or specificity of conduct, appears as monstrous enough.
Stranger by the Lake is a film about the incongruities of pleasure, about the lack of separation between wanting and not wanting. It's difficult to recall a film that understands gay desire, or desire tout court, so well and which translates it so strikingly. Its magnificence comes from the way it unfolds like a literary myth, with the visceral simplicity of a tragedy, while demystifying certain truisms about queer sexual practices: that gay men didn't instrumentalize one another as much before Grindr, that digital cruising has replaced face-to-face cruising, that flirting with death is in the libidinal makeup of only a pathological minority.
There's an acerbic austerity that structures the film, an authorial sadism that recalls Michael Haneke's. Guiraudie trusts the very banality of perversion to provoke terror unprompted, unaided, and unadorned. It's as though the narrative, a perfectly straightforward counter-fairy tale of sorts, like Mouchette, Bicycle Thieves, or even Haneke's own Funny Games, has been laid out by a bitter old queen who knows too much about how gay sex works to ever feel compelled to adjectify or embellish it. Its players take care of their own misery and demise; we just have to sit back and watch them wither and die an orgasmic and selfish little death, which, of course, no one else will notice. We only do because we've been led to cinematically witness it.
The film takes place at the remote shores of a lake somewhere in France, at some indeterminate point in time, where men go to have sex in the bushes and sunbathe naked on the sand in between fucks. Franck (Pierre Deladonchamps), a comely but generic gay in his 30s, is one of the most assiduous cruisers in the area. And like most, he doesn't seem to be there to have as much sex as possible with as many guys as he can get. He's cruising by the lake because in the city everything conspires against the particularity of his pleasure. The open vastness of the lake serves, ironically, as a kind of refreshing and asphyxiating shelter. A place where the general culture's strategies for the deferral, if not annihilation, of bodily pleasure for bodily pleasure's sake come to a halt and things conspire toward consummation, or at the very least, its acknowledgement of pleasure. Interestingly, in this place where sex is so possible, Franck, and others, also use the lake as a social platform where friendships are formed, relationships happen, and even some version of monogamy. And where there's monogamy, there's betrayal.
Franck develops a friendship with a pudgy older man, the supposedly straight Henri (Patrick D'Assumçao), who comes to the cruising grounds every single day, sits down on his designated spot, and just watches. They chit chat about life, separation, and loss while observing men cruise like clockwork. Of course, Franck only has time for deep conversations with Henri until a potential sex partner materializes in the distance. In comes Michel (Cristophe Paou), a butch hottie with a Freddy Mercury moustache and an enigmatic glow—and unfortunately, a clingy twink in tow who cock-blocks him. One night, when most cruisers have gone home, Franck observes from the bushes as Michel and his lover swim together in the lake. Their playfulness suddenly turns lethal as Michel casually drowns the twink and swims back to shore. The next day, Michel is back, the dead boy's belongings are still on the beach, and his car still gloomily parked. No one notices his absence, or cares.
Just when you think the twist in Stranger by the Lake is the crime that shapes the narrative, you realize the real surprise is a much more profound and insightful one, which gives way to the film's brilliance as a cinematic piece of art (the suspense that follows the drowning is maddening) and as a philosophical provocation: death not as that which interrupts life, but as its erotic companion. Franck's attraction toward Michel becomes even more magnetic after he witnesses the killing. The anxieties triggered by Michel's proximity only serve to incite the pull toward him. The ambiguity of Franck's wanting matches the opaque excessiveness of the lake itself as the lovers come together and we move to the edge of our seats. When will Michel finish Franck off? Will Franck tell on him? Franck just can't help but approach him, fuck him, love him, fuck him again, look for him, miss him, find him, lose him, find him again (it's mad love), and, in one of the most suspenseful scenes in all of cinema, Franck swims with Michel in the middle of the lake, perhaps at the very site of the drowning, with nobody else around.
Stranger by the Lake, which feels like a dreamy collaboration of Hervé Guibert's melancholy, Guillaume Dustan's audacity, and John Rechy's perceptiveness, is at once undeniably French and extraordinarily universal. While its characters' sexual theater is too shameless and matter of fact (the cruisers only dread the law after a murder happens) to have occurred in a similar fashion in puritanical America, it understands desire to be a drive toward the constancy of death. The film offers ever so plainly, and so engrossingly (we are immersed in the lake with Franck and Michel), the very complicated workings of desire in a way only the greatest and most ancient myths have.充）
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英文影评三
Through Franck’s casual conversations with Henri, who is divorced and somewhat old-fashioned, and hedonistic sex fiend Michel, Guiraudie explores the differences — both in general and specifically for gay men — between friendship, companionship and intellectual bonds on the one hand, and sex and physical connection on the other. Franck, who finds himself midway between the two extremes, likes to converse with Henri but would never consider sleeping with him, while he desires Michel physically to an irrational extent. Indeed, after having witnessed Michel drown his previous sex mate at nightfall in the lake, Franck is taken aback but not scared away; the danger only serves as a further turn-on.
Sex and death have of course been closely connected for gay men since the onset of AIDS, and the men here do have unprotected sex — perhaps because they find themselves in the heat of the moment, but also out of a possible longing for extreme intimacy. If Franck is attracted by the potential danger that Michel represents, it suggests on a more metaphorical level that a close connection to anyone comes at the price of at least partial abandon to the other and the unknown. Franck does suggest on several post-coital occasions that he and Michel go for a drink or meal, offers that the other man constantly refuses (“Just because we have sex doesn’t mean we need to have dinner”).
Thankfully, Guiraudi’s meditation on sex, compatibility and the problems and potentially high price of (gay) couplehood arise organically from the material, and audiences looking for a more traditional, narrative-driven film are well served once the police turn up after the body of Michel’s drowned lover washes ashore.
Although some of the sex scenes were shot with body doubles, they remain in keeping with Guiraudie’s commitment to photographic realism; Claire Mathon’s beautifully composed widescreen lensing regularly recalls Tom Bianchi’s Fire Island Pines Polaroids, among other influences. The proximity of the characters’ naked bodies finds a clear parallel in the underlying theme of needing to drop all facades in order to find a true and lasting bond.
Although “Stranger by the Lake” tackles serious and complex issues, Guiraudie keeps things extremely straightforward in narrative terms and also injects moments of humor, notably with a couple of supporting players, including a stalkerish nudist-voyeur. Casting of little-known thesps further reinforces the pic’s realism, as do the lensing and ace soundwork, which subtly imply the passage of time over the course of each of the several days during which the story unfolds.
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有意思，下面是一篇希伯来语的影评
"זרים על שפת האגם": סרט מרתק על אהבה הומוסקסואלית
המותחן הארוטי של אלן ג'ירודי אינו סרט כחול: הוא מותח ומסתורי, מהול בציניות ובהומור, ומספר
בדרך נועזת על גברים שמחפשים אהבה בעולם ללא אהבה. לא לשמרנים
שי שגב | 30 בנובמבר 2013, 20:05
אזהרה חמורה לצופים שמרנים: שמרו מרחק מהסרט הזה. המותחן הארוטי "זרים על שפת האגם" הוגבל בארץ לגיל 18
ומעלה ולהקרנות קולנועיות רק החל משעה 22.00. אכן, במהלך ההקרנה לא מעט צופים עזבו את האולם, כיוון שלא הסתדרו
עם מראות העירום או האקטים המיניים המפורטים בין הגברים. עם זאת, סרטו של אלן ג'ירודי אינו קשור לסוגת הסרטים
הכחולים כלל, הוא מאוד מואר, אבל יותר קודר, מלווה בציניות ובהומור הפזורים על פני אווירה מסתורית ומהורהרת.——详见http://megafon-news.co.il/asys/archives/189315
正片
