Name: 透過安妮絲·瓦爾達的視角觀察 (Through Agnes Varda's Looking Glass)
Uploaded: 2026-01-29T17:21:24.000Z
Duration: 9 min 6 s

轉承詞

Maybe because in the scene before, a fortune teller told her that an illness has come over her before pulling the death card and abruptly ending the reading.

也許是因為在之前的場景裡，一位占卜師告訴她，在她抽到死亡牌並突然結束占卜前，一種疾病已經找上她了。

Maybe because two hours from now she'll get the results of a medical test that will confirm whether or not she has cancer.

也許是因為兩小時後，她就會知道健康檢查的結果，確認她有沒有得到癌症。

So nervous that she's already assumed that it is cancer.

緊張到她已經預設自己得了癌症。

And the tarot reading has only strengthened that assumption.

而塔羅牌占卜只是加深了這個預設。

In the agony of anticipation, Cleo focuses on her beauty, which has helped her in the past feel strong and vibrant and and alive.

在焦慮的等待中，Cleo 專注於自己的美麗，這在過去曾幫助她感到強壯、充滿活力且活著。

For Agnes Varda, the director of this extraordinary film, it's not only a question of why her protagonist is thinking these things, but

對於這部非凡電影的導演 Agnes Varda 來說，問題不僅在於她的主角為什麼會這樣想，

還有 Cleo 在鏡子裡找到了什麼慰藉。

And mirrors play a large and important part in this movie.

而鏡子在這部電影裡扮演了非常重要且關鍵的角色。

Cleo From 5 to 7, Varda's masterpiece is an essential text of the French New wave, an art film movement of the late 50s and early 1960s.

Cleo From 5 to 7，Varda 的傑作是法國新浪潮運動的必讀經典，這是 50 年代末至 60 年代初的藝術電影運動。

Better known for the movies made by male directors like Jean Luc Godard and Francois Truffaut.

相較於 Jean Luc Godard 和 Francois Truffaut 等男性導演的作品，大家對 Varda 的電影比較熟悉。

Clio from 1962 arrived at the height of the movement.

1962 年的 Clio 正好是這個運動的巔峰時期。

But Varda had already prefigured the New wave back in 1955 with her first film, La Pointe Court, which is incredibly bold and experimental for a debut feature, not to mention beautiful.

但 Varda 在 1955 年的首部電影 La Pointe Court 早已預示了新浪潮，這部處女作極具膽識和實驗性，而且非常美麗。

You rarely see such technical mastery from a first time director in a movie that cost only $14,000.

你很少看到一位初次執導的導演，在一部僅花費 14,000 美元的電影中展現如此精湛的技術。

But Varda had studied photograph in the years prior and it shows she knew how to accomplish a lot with a little Cleo.

但 Varda 事先鑽研過攝影，這讓她知道如何以有限的資源達成許多成就，就像 Clio 一樣。

Her second movie is more beautiful and more bold, executed with talent that matched her ambition.

她的第二部電影更加美麗、更加大膽，展現了與她野心相匹配的才華。

The most experimental thing about it structurally is that it occurs in real time.

它在結構上最實驗性的地方在於，整部電影是即時進行的。

As the title says, we follow Cleo through an afternoon as she journeys across real locations in Paris, waiting for her dreaded test results to be ready.

正如片名所示，我們跟隨 Cleo 在一個下午，穿越巴黎的真實地點，等待她令人擔憂的檢查結果出爐。

This real time plot and the sword of Damocles that hangs over Cleo is the architecture that allows Varda to do what she really wants.

這種即時的劇情和懸在 Cleo 頭上的達摩克里斯之劍，是 Varda 實現她真正想做的事情的架構。

Paint a complex picture of a complex woman on a stressful day in her life.

描繪一位女性在生命中壓力極大的一天裡，複雜的內心世界。

That stress is what prompts Cleo to examine and ultimately confront her self image.

這種壓力促使 Cleo 去審視並最終面對自己的形象。

And it's for this internal journey, happening parallel to the journey across Paris, that Varda uses mirrors as a symbol.

而 Varda 之所以使用鏡子作為象徵，正是為了這段與穿越巴黎的旅程同時進行的內心探索。

As Roy Jane Nelson has pointed out, the mirror in this film is not really a tool for Cleo to see herself, but

正如 Roy Jane Nelson 所指出的，這部電影中的鏡子並非真的讓 Cleo 看見自己，而是

And when she uses it, like she does to reassure herself at the beginning of the film, Varda shows us just how much Cleo lets these external perspectives dominate her Self image.

當她使用鏡子時，就像她在電影開頭用來安慰自己的那樣，Varda 讓我們看到 Cleo 多麼讓這些外在的觀點主導了她的自我形象。

Of course, we're all affected by the expectations of others.

當然，我們都會受到他人期望的影響。

But women, more than men, are bombarded by cultural messaging that encourages them to value themselves according to their attractiveness, their ability to mother or tend a household.

但女性比男性更容易被文化訊息轟炸，這些訊息鼓勵她們根據自己的吸引力、母性或持家能力來評價自己。

換句話說，她們對他人的價值。

So Cleo's illness, just the thought of it, begins to threaten her self concept.

所以 Cleo 的病，光是想到，就開始威脅她的自我概念。

If she's not a beautiful, healthy, up and coming singer, who is she?

如果她不是一位美麗、健康、前途光明的歌手，那她是誰？

When she meets her maid in the cafe after the tarot reading, she sees her image fractured in a mirror.

當她在塔羅牌占卜後，在咖啡館遇見她的女僕時，她看到自己的影像碎裂在鏡子裡。

Mirror echoed by the mosaic of mirrors on the pillar by their table.

鏡子與他們桌子旁柱子上的馬賽克鏡子相互呼應。

But she's able to quiet this identity crisis in the following scene in a hat store, where she once again takes solace in her beauty.

但在接下來的服飾店場景中，她再次從自己的美麗中獲得慰藉，得以平息這場身份危機。

Everywhere Cleo goes, there is another one for her to pose in, as if they were the eyes of an adoring public.

Cleo 走到哪裡，就有另一面鏡子讓她擺姿勢，彷彿那是崇拜大眾的眼睛。

When Cleo arrives back at her apartment, she makes herself into exactly what she believes her lover desires, a kind of doll and ADM her self creation in a hand mirror, almost as if it were a drug.

Cleo 回到公寓後，讓自己變成她認為情人想要的樣子，一種玩偶，並在手鏡中欣賞自己的創作，幾乎就像在吸毒一樣。

She uses her reflection for confidence, to prove to herself that this is still who she can be.

她利用自己的倒影來獲得自信，證明自己仍然可以成為這樣的人。

But then the man who comes to see her barely gives her the time of day and is gone almost as soon as he arrives.

但隨後來看她的男人幾乎不理她，一來就走了。

Right after that, her music managers visit and ask her to sing a new song called Santois or Without you.

接著，她的音樂經紀人來訪，請她唱一首叫〈Santois〉或〈Without you〉的新歌。

It's an unbelievably sad song about a woman who says she'll basically shrivel away and die alone, ugly, ashen, without her lover.

這是一首令人難以置信的悲傷歌曲，描述一位女子說，如果沒有愛人，她就會枯萎、孤獨地死去，又醜又灰暗。

After she finishes it, Cleo realizes that this isn't her, that her managers are simply using her to create an image of a woman that serves their purposes.

唱完後，Cleo 意識到這不是她自己，她的經紀人只是利用她來塑造一個符合他們目的的女性形象。

And she refuses to be exploited any longer.

She removes her costume and places her wig on top of a mirror in her place.

她脫下戲服，把假髮放在鏡子上。

This is the point midway through the film when things shift for Cleo.

She discards the identity she's made for others.

她拋棄了為別人而塑造的身份。

She ceases to be an object looked at even by herself, and

她不再是連自己都會觀看的對象，

She walks toward the camera, looks left to see a store called, appropriately, Good Health, then approaches a mirror.

她走向鏡頭，往左看見一家名為「Good Health」的商店，接著走向一面鏡子。

Before turning away and observing a magic show.

在轉身離開並觀看一場魔術表演之前。

From here on out, Cleo will observe the world as it is, not as a reflection of people's expectations of her.

從此刻起，Cleo 將如實地觀察世界，而不是作為別人對她的期望的映照。

Others still look at her, still stare, still objectify, but she no longer sees herself in their eyes.

其他人依然看著她，依然凝視，依然物化，但她不再從他們的眼中看見自己。

Later, she meets with a friend who models nude for sculptors.

之後，她遇見一位為雕塑家當人體模特兒的朋友。

Cleo wonders how she can do that without feeling embarrassed that they might see a flaw.

Cleo 很好奇她怎麼能做到這點，而不感到尷尬，怕他們看到瑕疵。

Dorothy is a model in more ways than one.

Dorothy 在很多方面都是一位模特兒。

She models what it is to forge an identity from a sense of inherent value.

她示範瞭如何從內在價值感中塑造一個身份。

As Cleo takes this to heart, we see a mirror shatter on the ground.

當 Cleo 把這句話放在心上時，我們看到一面鏡子碎裂在地。

It's the last mirror we'll see in the film.

這也是電影中最後一面鏡子了。

In the movie's final sequences, Cleo explores her new freedom, first with herself in the park, then with a soldier that she meets there.

在電影的最後幾幕，Cleo 探索她新獲得的自由，一開始是在公園裡獨處，接著是遇見一位在那裡的阿兵哥。

Annes tells him her real name, Florence, and

Annes 告訴他她的真名 Florence，而且

they interact as equals, as two souls unafraid to be themselves together.

他們像平等的靈魂一樣互動，兩個都不害怕做自己的靈魂。

They go to the hospital, where Cleo's doctor confirms the news that she's been fearing all along.

他們去醫院，Cleo 的醫生在那裡證實了她一直擔心的消息。

But even though it's bad news, scary news, Cleo doesn't feel as threatened as she once did.

但即使這是個壞消息，令人害怕的消息，Cleo 感覺不像以前那樣受到威脅了。

And her mastery is all the more important because, well, cinema has been and often still is, a source of that warped cultural messaging that women receive.

她的精湛技巧之所以更顯重要，是因為，嗯，電影過去常常，而且現在也常常是女性接收扭曲文化訊息的來源。

As a target of that messaging herself, Varda used the experimental spirit of the new wave in a way that her peers couldn't.

Varda 身為這種訊息的目標，她運用了新浪潮的實驗精神，這是她的同儕做不到的。

To guide us through the house of mirrors that is our society, to guide us through and out the other side.

引導我們穿越我們社會的萬花筒，引導我們穿越並走到另一邊。

This episode was brought to you by Squarespace.

If you don't know, you can use Squarespace to make beautiful websites for anything you might need.

如果你不知道，你可以用 Squarespace 來製作任何你需要的精美網站。

A personal site, a wedding website, a site for your business or portfolio, and

個人網站、婚禮網站、公司或作品集網站，

in just a few clicks, you can have that website up and running.

只要點幾下，你就能輕鬆架設好網站。

Their design team has crafted really beautiful templates that work on computer browsers and on mobile, switching perfectly between the two.

他們的設計團隊打造了非常精美的範本，無論在電腦或手機上都能完美呈現，輕鬆切換。

You can integrate your own photos and videos with just a few clicks.

你也可以輕鬆整合自己的照片和影片。

And you can even link your social account so you can auto post to Twitter and Facebook all from within Squarespace.

你甚至可以連結你的社群帳號，讓你直接在 Squarespace 上自動發布到 Twitter 和 Facebook。

Head over to squarespace.com for a free trial, and

前往 squarespace.com 體驗免費試用，

when you're ready to launch that site, go to squarespace.com nerdwriter for 10% off your first purchase.

當你準備好上線時，到 squarespace.com nerdwriter，首次購買可享 10% 折扣。