HEARTBEATS

弗朗西斯（泽维尔·多兰饰）和玛丽（莫尼亚·肖克里饰）是好朋友。某晚，他们遇到了刚从乡下搬到蒙特利尔的年轻男子尼克（尼尔斯·施内德饰）。
屡次相遇，片刻纠缠，弗朗西斯和玛丽被无数迹象困扰——有些真实，有些虚构——逐渐陷入了对尼克的幻想痴迷。
很快，他们发现自己已陷于一场爱情决斗的边缘，这场决斗威胁着他们曾以为牢不可破的友谊。

Francis (Xavier Dolan) and Mary (Monia Chokri) are good friends. One night, they meet Nick (Niels Schneider), a young man from the country who has just settled in Montreal.
From encounter to encounter, from moment to moment, troubled by innumerable signs – some real, some imagined – Francis and Mary fall deeper and deeper into their fantastical obsession. Soon, they find themselves on the precipice of a love duel that threatens the friendship they once thought indestructible.

导演：泽维尔·多兰
编剧：泽维尔·多兰
主演：莫尼亚·肖克里、尼尔斯·施内德、泽维尔·多兰、安娜·多尔瓦尔、安娜-伊丽莎白·博赛、玛加丽·勒皮娜·布隆多、奥利维尔·莫林、埃里克·布吕诺、加布里埃尔·莱萨尔、贝内迪克特·德卡里、帕特里夏·图拉斯纳
制片人：泽维尔·多兰、丹尼尔·莫林、卡罗尔·蒙德洛
摄影：斯蒂芬妮·韦伯比隆
类型：浪漫剧情片
时长：97分钟
完成时间：2010年
对白语言：法语、英语
地区：加拿大魁北克
制片公司：联盟维瓦影业

Director: Xavier Dolan
Screenwriter: Xavier Dolan
Cast: Monia Chokri, Niels Schneider, Xavier Dolan, Anne Dorval, Anne-Élisabeth Bossé, Magalie LépineBlondeau, Olivier Morin, Éric Bruneau, Gabriel Lessard, Bénédicte Décary, Patricia Tulasne
Producer: Xavier Dolan, Daniel Morin,
Carole Mondello
Cinematographer: Stéphanie WeberBiron
Genre: Romantic drama
Length: 97 min
Year: 2010
Dialogue: French, English
Region: Québec, Canada
Production Company: Alliance Vivafilm

泽维尔·多兰四岁时首次亮相荧幕，出演了一系列著名药品连锁店的电视广告。从那以后，他参演了多部电影（《我也是》《悬空的堡垒》《夏日镜像》）和电视剧（《黑手党》《黄金》）。他也在帕斯卡·洛吉耶备受争议的《殉道者》中亮相。2009年5月，他的导演首作《我杀了我妈妈》入选了戛纳电影节第41届导演双周单元，并赢得了青年眼光奖、艺术电影奖和法国编剧协会奖。至今，这部仍在各大电影节巡回展映的影片已经获得了全球超过31项大奖。除了作为加拿大入围奥斯卡最佳外语片奖的官方选送影片外，《我杀了我妈妈》还获得了凯撒奖的提名。《幻想之爱》是泽维尔·多兰的第二部长片。

Xavier Dolan first appeared on screen at the age of four in a series of TV advertisements for a well-known pharmaceutical chain. He has since appeared in numerous films (J’en suis; La forteresse suspendue; Miroir d’été) and TV series (Omertà; L’or). He was seen in Pascal Laugier’s controversial Martyrs. In May of 2009, his debut feature J’ai tué ma mère was selected for Cannes’ 41st Directors’ Fortnight where he won the Prix Regard Jeune, the Art Cinema Award and the Prix SACD. The film, which is still doing the rounds of the festival circuit, has to date racked up more than 31 awards worldwide. As well as being Canada’s official entry for the Oscar nominations for Best Foreign Language Film, J’ai tué ma mère was also nominated for the Césars’ equivalent award. Heartbeats is Xavier Dolan’s second feature-length film.

一开始，拍摄这部电影并不在我的计划之内。当时，我刚刚结束了一次与两位朋友——尼尔斯和莫尼亚的公路旅行。在一英里又一英里朝夕相处的日子里，我们之间的亲密互动激发了我创作一个关于三角恋故事的灵感。九月初，我登上前往多伦多国际电影节的火车，坐在安大略湖畔，我打开了笔记本电脑，开始撰写《幻想之爱》的剧本。我又开始了老动作，去敲那些为《我杀了我妈妈》奔走时敲过的门。再次回到那个年轻、瘦弱的导演身份，徒劳地向那些吝啬的“大人物”和虚伪的“天使”乞求资金，试图再次为一个梦想注入生命。然而，没有人回应。无奈之下，我动用了自己微薄的积蓄，启动了项目，心中坚信，无论如何，钱总会在某个时候出现的。

一年后的今天，我再次回到了出发的地方。躺在床上，我回顾着第一天的拍摄工作，隐约感受到这部电影与《我杀了我妈妈》截然不同。然而，彼时我还没有完全排除这部影片中所蕴含的情感张力和焦虑氛围，也并未有意识地打算让这部电影完全区别于前作。但几乎是出于某种神奇的力量，仿佛片场集体无意识的推动，《幻想之爱》逐渐确立了自己的独特声音、色彩和灵魂，自然而然地避免了与前作的重复。至于资金问题，就在我们开拍不久，一位守护天使的引荐让我结识了几位私营部门的投资者，他们仿佛从幕后走出来，拯救了整个项目。他们提供了我们所需的资金，毫不夸张地说，他们成为了这部电影的英雄。

今天，当我回顾整个过程时，我感叹于事件的跌宕起伏，尤其是宇宙在如此巧妙的时刻将这部作品带到了现实中。我现在明白，《幻想之爱》是我所能拍摄的最完美的第二部电影。

In the beginning, making this movie was not in the cards. I was returning from a road trip with two friends, Niels and Monia. The journey had laid on some rich moments ranging from arid deserts to outlandish obese people. Locked in together for mile after mile, the dynamics of our intimacy sparked ideas for a project about a love triangle. Come early September, I boarded a train and headed for Toronto International Film Festival. With Lake Ontario’s iridescent waters lapping nearby, I took out my laptop and started writing the screenplay for Heartbeats (Les Amours Imaginaires). I did the same rounds, knocking on the very same doors I had visited back in the days of J’ai tué ma mère. I went back to being the young, scrawny filmmaker, vainly begging the tightfisted fat cats and bogus angels to, once again, put flesh and bones on a dream. But nobody answered the call. Impatient, I dipped into my modest treasure chest and, using what I had left, I set the wheels in motion, driven by a crazy, deep-seated conviction that, sooner or later, the money would show up.

Hi, Square One – I’m back! I was mentally poring over our first day’s work and beginning to sense that this film was going to be nothing like J’ai tué ma mère. Nevertheless, at that moment, I was not about to rule out the same dense, anguished emotional charge that had informed my earlier work. Nor had I yet decided that this film would be no kind of follow-up inviting unfavourable comparisons with its predecessor. I still had no clear, conscious intention of putting it on a new and different footing. However, almost magically, and as if by an act of will pushing up from the film set’s own collective unconscious, I was protected from the pitfalls of redundance as Heartbeats began gradually to assert itself by revealing its own distinct voice, colours and soul.

As for money, private sector investors (whom I had met thanks to the intervention of a guardian angel) emerged from the shadows shortly after we had started shooting. They saved the day. We received everything we needed and they, literally, became the heroes of the film.

Today, I look back and I am stunned by the twists and turns of events and, above all, at
the way the universe conspired to bring this work to life with such serendipitous timing. I
see now that I could never have made a better second film than Heartbeats.