有點意外又不是太驚訝的消息，法國宣佈，選擇越南名導陳英雄的《火上鍋》（The Taste of Things，暫譯）角逐奧斯卡最佳國際電影。
這也代表，潔絲汀楚特聲量極高、好評如潮的《一場墜樓的剖析》（Anatomy of a Fall，暫譯）無緣在奧斯卡參與此項目，不過此片仍有機會入圍其餘獎項，尤其是最佳影片、導演、劇本以及女主角獎。
今年對於法國而言，在奧斯卡最佳國際電影的類別中，有兩部最好的電影能夠選擇——《火上鍋》以及《一場墜樓的剖析》，且皆擁有坎城影展的得獎鋒芒。
陳英雄過往以曾獲得威尼斯金獅獎的《三輪車夫》廣為人知，此次交出的《火上鍋》為首度在坎城主競賽獲獎，一出手，就是最佳導演。
至於潔絲汀楚特的《一場墜樓的剖析》，則是在坎城抱回最高榮譽金棕櫚，繼珍康萍《鋼琴師與她的情人》、茱莉亞迪克諾的《鈦》之後，再度有女性導演獲此殊榮，影史前三。
在法國公布奧斯卡最佳國際電影代表之前，就屬《火上鍋》以及《一場墜樓的剖析》呼聲最高，其中又以《一場墜樓的剖析》備受期待。
主要原因是，《一場墜樓的剖析》在北美是由 Neon 操盤，過往《寄生上流》、《燃燒女子的畫像》、《瘋狂富作用》等片在北美獎季的相關規劃，皆是出自 Neon。
而《一場墜樓的剖析》也爆發出一股不容忽視的「女性」聲音，這是一部無庸置疑的女性主義電影，且潔絲汀楚特為女導演，主演桑德拉惠勒的表演也有目共度（今年桑德拉惠勒還有另一部片子《The Zone of Interest），在當代世界影壇的浪潮以及奧斯卡近年的態勢，《一場墜樓的剖析》於幕前、幕後，幾乎擁有完美的故事論述得以發揮。
此外，《一場墜樓的剖析》在坎城除了被評審團肯定之外，也被多數影評、媒體、電影工作者視做今年最佳電影之一，而此片在法國上映後也造成票房大熱，代表觀眾相當買單，是叫好叫座的代表。
因此，法國最終未選擇《一場墜樓的剖析》競逐奧斯卡最佳國際電影，確實有點意外，引發許多討論。
這也不是法國首度忽視「可能更好的電影」，包含奧黛麗迪萬的《正發生》以及瑟琳席安瑪的《燃燒女子的畫像》 皆未受青睞。
就有論者指出，或許是潔絲汀楚特在坎城得獎後，抨擊了法國總統馬克宏的「新自由主義」，導致遭受政府「懲罰」，且法國某些握有權勢的業內人士一直不願意接受此片的榮譽和商業成功。
今年法國的評選委員，包含《ANNETTE：星夢戀歌》製片 Charles Gillibert、前獅門影業負責人 Patrick Wachsberger、奧斯卡獲獎作曲人 Alexandre Desplat，銷售代理Sabine Chemaly、Tanja Meissner，以及影迷熟悉的名導奧利維耶阿薩亞斯、莫妮亞梅杜爾等人。
上一次法國獲得奧斯卡最佳國際電影時，得追溯到 1993 年雷吉斯瓦尼耶的《印度支那》（當時此獎被稱為最佳外語片），而近期法國在奧斯卡入圍此項目，則為 2020 年拉德利的《悲慘世界》。
當然上述皆是猜測，話說回頭，雖然我確實更喜愛《一場墜樓的剖析》，但《火上鍋》對我而言也仍是好片，以下就提供今年在坎城針對這兩部片子所寫下的文字，提供參考。《火上鍋》將於金馬影展放映。
（以下為評論全文，圖文好讀版寫在【關鍵評論網】，放置留言處）
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《一場墜樓的剖析》——影史第三位女性導演金棕櫚，通俗且優雅的心理分析
今年坎城主競賽在登場之前，其最受矚目的話題，就是在 21 部的入選作品中，有 7 部作品出自女性導演之手，數量與佔比，皆寫下坎城紀錄。
自從 2017 年底，電影圈爆發「哈維韋恩斯坦」的性醜聞事件，引起各地的「MeToo」、「女權」運動之後，全世界的大型電影競賽片單，幾乎皆會談論女性導演作品的比例多寡，坎城自然不例外。
2018 年，坎城主競賽擁有 3 名女導演，2019 年，坎城主競賽擁有 4 名女導演；2021 年，坎城主競賽同樣有 4 名女導演；2022 年，坎城主競賽回落至 3 名女性導演。
直至今年，女導演入選人數一舉上升至 7 位，分別是潔絲汀楚特、潔西卡賀斯樂、凱薩琳布蕾雅、卡勞瑟爾賓漢耶、艾莉絲羅爾瓦雀以及首部劇情長片就入圍的Ramata-Toulaye Sy。
而排除首部劇情長片的 Ramata-Toulaye Sy，其餘女導演的過往作品，皆與坎城有所連結。 潔絲汀楚特、潔西卡賀斯樂、艾莉絲羅爾瓦雀更是在五年之內重返坎城的導演。
賽果出爐，潔絲汀楚特順利以《一場墜樓的剖析》抱回金棕櫚，繼珍康萍《鋼琴師與她的情人》、茱莉亞迪克諾的《鈦》之後，再度有女性導演於坎城拿下最高榮譽，影史前三。
其實不只坎城，近年女性影人的作品屢屢於世界影壇的殿堂上獲獎，從 2021 年開始計算，拿下柏林、坎城、威尼斯、奧斯卡這四大電影獎項首獎的女導演作品，就包含趙婷《游牧人生》、茱莉亞迪克諾《鈦》、奧黛麗迪萬《正發生》、卡拉西蒙《桃子樹的最後豐收》、夏安海德《樂動心旋律》、 蘿拉柏翠絲《所有的美麗與血淚》、潔絲汀楚特《一場墜樓的剖析》，女性的力量也正步步推進。
而簡單談及潔絲汀楚特《一場墜樓的剖析》，這是一部以懸疑死亡案件為毒衣包裝，往下直切家庭關係、夫妻關係、人際關係，乃至於拆解社會結構，作家與自我的真實／虛構關係，並同時呈現多重視角的傑作。
潔絲汀楚特全片始終以一種保持距離的攝影機視角，冷靜且精準地觀察一場死亡案件所輻射而出的心理驚悚。
片中多次上演的法庭戲攻防，幾乎成為當代法庭戲的新經典，其中數度出現的窺視鏡頭，以及一顆對準男孩正面特寫，視角游移的攝影機運動，恰恰就是這部片子在克制當中，還一直供給的某種活力，令觀眾目不暇給，且無可自拔地直盯著。
當然，片中踩向虛與實的真實邊界，是顯而易見的創作核心，潔絲汀楚特精心安排的盲人視角、未解之謎的命案，都替這層虛實關係增添了厚度，而潔絲汀楚特在片尾還要走向更遠的地方——經驗記憶與後設情感的雙重辯證。
《一場墜樓的剖析》是一場華麗的當代驚悚懸疑，這並非譁眾取寵，是在劇本編寫、導演調度、攝影機運動等完成高度的一致美學，而潔絲汀楚特也在乎觀眾，得以發現她也試圖消弭與觀眾的距離，讓片子產生了高度娛樂性，這幾乎是一部以不同目光審視，皆能折服的電影。
當然，主演桑德拉惠勒的演出是不可忽視的，數場戲的內斂與爆發，提供片子巨大能量，倘若坎城未有得獎限制（現當代的片子幾乎不能重複獲獎），那麼最佳女演員恐怕也是桑德拉惠勒的囊中物，而坎城甫結束，桑德拉惠勒就已傳出入主明年奧斯卡女主角的呼聲。
最後，《一場墜樓的剖析》獲得金棕櫚，最開心的莫過於成軍不到 10 年的美國電影公司NEON。從 2019 年開始，NEON 拿下發行權的作品，已經連續 4 次獲得金棕櫚，傲視坎城。包含 2019 年的《寄生上流》、2021 年的《鈦》、2022 年的《瘋狂富作用》，2023 年的《一場墜樓的剖析》（2020 年因疫情停辦）。
《寄生上流》與《瘋狂富作用》都在NEON的操盤下，成功打入北美奧斯卡獎季，能夠預期，《一場墜樓的剖析》將會是獎季重點作品。
《火上鍋》——「廚師與謝謝」，濃情至深的「我愛你」
法籍越南裔導演陳英雄，過往以曾獲得威尼斯金獅獎的《三輪車夫》廣為人知，此次交出的《火上鍋》為首度在主競賽獲獎，一出手，就是最佳導演。
《火上鍋》擁有與《飲食男女》的類似開場，攝影機放置於佳餚美食的製作，立即宣告這是一部「美食」電影，然而，與李安同樣的是，陳英雄的野心當然並不僅在美食，而是意在言外地藉物喻情。
《火上鍋》擁有外露的大師氣場，氣場是來自於陳英雄的「耐心」，陳英雄帶著挑戰觀眾的耐心，氣定神閒地大量使用數顆固定長鏡頭，以致去觀看男女主角你來我往的烹飪過程。
而這種長鏡頭美學的觀看，所透出的莊嚴，就產生極有份量的凝視效果，以致換來兩名主演班諾馬吉梅、茱麗葉畢諾許在廚房內與外，以美食帶出的濃厚情感。
《火上鍋》最震撼的是最後一顆鏡頭，那是顆極具破壞性、回溯性、反身性、創造性的鏡頭，當鏡頭旋轉數圈之後，再度現形於銀幕的男女主角，所迸出的以下答辯：
「我是你的廚師還是妻子？」
「廚師。」
「謝謝。」
這句「廚師與謝謝」，就是陳英雄情深至美食深處的「我愛你」。而顯然，評審團將最佳導演頒予陳英雄，即是肯定了這種以耐心的凝視目光，堆疊而成的情感重量。
（全文未完，全文放置留言處）
November 1, 1993
OBITUARYFederico Fellini, Film Visionary, Is Dead at 73
By PETER B. FLINT
Federico Fellini, whose deeply personal films were vivid, sometimes bizarre portraits of the human condition, died yesterday at the Umberto I Hospital in Rome. He was 73.
The cause was cardiac arrest, the Reuters news agency reported, citing Dr. Maurizio Bufi, the chief of the hospital's intensive care unit. Mr. Fellini had suffered a stroke in August and had been in a coma since he had what has been variously described as a heart attack or heart failure on Oct. 17. Reuters said his condition deteriorated in the last hours before his death, and he developed a high fever and kidney problems.
Four of Mr. Fellini's movies won Oscars for best foreign-language film: 'La Strada' in 1956, 'The Nights of Cabiria' in 1957, '8 1/2' in 1963 and 'Amarcord' in 1974. In March, he received an honorary Oscar in recognition of his cinematic accomplishments as a director and screenwriter. Before his heart trouble laid him low this year, the director had reportedly been making plans to begin work on his 21st feature film next year, 'Block Notes of a Director: The Actor.'
Throughout his career, Mr. Fellini focused on his personal vision of society and his preoccupation with the relationships between men and women and between sex and love. An avowed anticleric, he was also deeply concerned with guilt and alienation.
Fellini films are spiced with artifice (masks, masquerades and circuses), startling faces, the rococo and the outlandish, the prisms through which he sometimes viewed life. But as Vincent Canby, the chief film critic of The New York Times, observed in 1985, 'What's important are not the prisms, though they are arresting, but the world he shows us: a place whose spectacularly grand, studio-built artificiality makes us see the interior truth of what is taken to be the 'real' world outside, which is a circus.'
The concepts of all Fellini movies originated in the mind of 'the Maestro,' as his associates and compatriots fondly called him, in his memories, dreams, fantasies and fancies. He was often the protagonist of his films, and his most celebrated alter ego was Marcello Mastroianni, in 'La Dolce Vita,' '8 1/2' and 'City of Women.'
Mr. Fellini wrote all his scripts, usually with two dialogue writers, and supervised every creative detail, including the final editing. He was a perfectionist who repeatedly reshot many scenes in a process that usually took two years. He kept producers away from his films until they were completed, explaining: 'I do not need a producer. I need only a good production manager. I need only a man who will give me money.'
Devoted to Movies, Not to Commerce
He studied his own movies many times but seldom saw other movies, saying that most of them reflected commerce rather than art. His devotion to movies over money was reflected in his uncommon willingness to surrender a large share of the potential profits from many of his films to their financial backers.
He likened his craft to applying a thermometer to a troubled world and finding a high fever. 'I'd like very much to make a confident picture,' he once told an interviewer. 'I would like to be as good as nature, which with a shower produces flowers and grass to cover the destruction. But we are surrounded by human fragmentation, by pessimism, and it is difficult to talk of other things.'
Mr. Fellini said he sought to liberate viewers from 'overidealized concepts of life.' In a lighter vein, he remarked, 'I make pictures to tell a story, to tell lies and to amuse.'
Over the decades, Fellini films became increasingly original and subjective, and consequently more controversial and less commercial. His style evolved from neo-realism to fanciful neo-realism to surrealism, in which he discarded narrative story lines for free-flowing, freewheeling memoirs. He described his approach in this way:
'When I start a picture, I always have a script, but I change it every day, I put in what occurs to me that day, out of my imagination. You start on a voyage; you know where you will end up, but not what will occur along the way. You want to be surprised.'
His life centered on film making. 'When I am not making movies,' he confided, 'I feel I am not alive.'
A Series of Scenes Difficult to Forget
Fellini movies have many unexpected and indelible sequences. 'La Dolce Vita' opens with a huge statue of Jesus, with arms outstretched, being towed inexplicably by a helicopter above the rooftops of Rome. The film '8 1/2' ends with a quixotic film director leading all his contentious associates, real and imagined, alive and dead, in a dance of joyful reconciliation.
'I Vitelloni' ('The Loafers'), the third feature he directed, is an autobiographical tragicomic tale of five provincial youths who punctuate their aimless street life with pranks.
'La Dolce Vita' is a sensational and sobering scan of the decadent 'sweet life' of Rome's cafe society, with its sexual promiscuity, search for exotic gratification and consuming boredom. The film shocked many Italians and was proscribed by the Roman Catholic Church, but it became a huge success in Italy and around the world.
'La Strada' ('The Road'), is a poetic tragedy about a simple-minded waif who serves as the clown, cook and concubine for a boorish, brutish strongman.
'The Nights of Cabiria' deals with a sentimental, eternally hopeful prostitute who wistfully dreams of romance and respectability.
Mr. Fellini's most clearly autobiographical confession, '8 1/2,' is an innovative romantic satire-fantasy about an egomaniacal film maker's moral and creative midlife crisis, his malaise and inability to make a movie. He titled it '8 1/2' because it was his seventh directorial feature in addition to three short films. It was his favorite movie.
'Amarcord' ('I Remember') is a paean to youth and the memories of a year in the life of a provincial Italian town in the 1930's.
Many Movies, Even More Awards
In addition to Oscars, Fellini movies won hundreds of awards, including many top citations at international film festivals and five first prizes from the New York film critics.
His other movies, also with evocative scores by Nino Rota, include 'Juliet of the Spirits' (1965), his first color feature, which centers on a neglected wife obsessed by dreams and spirits; 'Fellini Satyricon' (1969), an epic of decadence and the wanderings of a homosexual youth in ancient Rome's disintegrating society; 'The Clowns'(1970), and 'Fellini's Roma' (1972).
Others were 'Fellini's Casanova' (1976), a spectacular but joyless saga of the 18th-century philanderer's conquests across Europe; 'Orchestra Rehearsal' (1979), the most political Fellini film, which uses an orchestra as a metaphor for a fragmenting society, and 'City of Women' (1979), a feminist fantasy in which the hero searches incorrigibly for the perfect woman.
Later films also include 'And the Ship Sails On' (1983), a flamboyant succession of mostly comic commentaries on art and self-absorbed artists; 'Ginger and Fred' (1986), whose central characters are an Italian dance couple who chose their names in honor of the American dance team and who are reunited on a television variety show, and 'Intervista' (1987), a mock documentary described by Mr. Canby in a review as 'a magical mixture of recollection, parody, memoir, satire, self-examination and joyous fantasy.'
'Tutto Fellini,' a retrospective of his films, started on Friday and is to continue through Dec. 21 at Film Forum in Greenwich Village.
Scoffed at Questions About Meaning
Mr. Fellini was impatient with interviewers who suggested that his films had been inspired by works he had not read and who pressed him with questions about the meanings of his imagery. 'Meaning, always meaning!' he scoffed. 'When someone asks, 'What do you mean in this picture?,' it shows he is a prisoner of intellectual, sentimental shackles. Without his meaning, he feels vulnerable.'
Admirers said Fellini films were resplendent and exhilarating, and reflected a deepening and an enhancement of his art. They also believed that his later movies showed maturing, self-critical insights.
After the mid-1960's, his films often stressed the bizarre, the garish and the grotesque. Detractors praised some sequences, but variously termed the works excessive, simplistic and self- obsessed. Nonetheless, the consensus was that he made brave and original movies about important issues.
Mr. Canby praised Mr. Fellini for a dazzling inventiveness and skill and an 'insatiable curiosity about and fondness for the human animal, especially those who maintain only the most tenuous holds on their dignity or sanity.' At his top form, he 'somehow brings out the best in us,' Mr. Canby wrote. 'We become more humane, less stuffy.' Hailing Mr. Fellini's 'very special, personal kind of cinema,' the critic concluded, 'one of Fellini's greatest gifts is his ability to communicate a sense of wonder, which has the effect of making us all feel much younger than we have any right to.'
Discovering Life Through Films
Federico Fellini was born on Jan. 20, 1920, in Rimini, an Adriatic port and resort in north-central Italy. His upbringing was provincial, religious and middle class. His father, Urbano, was a prosperous seller of coffee and other grocery specialties whose frequent travels left his wife, Ida, as the main parent for Federico, his brother, Riccardo, and his sister, Maddalena.
The film maker, fancifully recounting his youth, repeatedly told interviewers that he ran away from home at the age of 7 or 8 to join a circus, but later he smilingly acknowledged he had fabricated the brief episode 'to help journalists' explain his fascination for circuses.
The youth attended religious boarding schools, where his chief talent was drawing and his chief adversaries were the rigid friars who often punished him for breaking minor rules.
In 1985, he told a New York audience that his love of film making originated in Rimini's primitive movie house, which, he said, had 200 seats and standing room for 500. Of 1930's American movies, he recalled, 'I discovered there existed another way of life, a country of wide-open spaces, of fantastic cities that were a cross between Babylon and Mars.' He was speaking at a gala Fellini tribute offered by the Film Society of Lincoln Center.
At the age of 17 or 18, according to his varying accounts, he left home for Florence, where he worked for several months as a proofreader and cartoonist. He went on to Rome, enrolling at the University of Rome's law school, but he did not attend classes and used his student status to avoid conscription while he worked as a cartoonist and short-story writer for a satirical publication, Marc' Aurelio. He later used his cartooning talent to draw characters and scenes for his movies.
At 19, he joined a vaudeville troupe, traveling across Italy and working primarily as a gag writer while performing utility tasks. The year, he recalled, 'was perhaps the most important year of my life.'
'I was overwhelmed by the variety of the country's physical landscape and, too, by the variety of its human landscape,' he said. 'It was the kind of experience that few young men are fortunate enough to have: a chance to discover the character of one's country and, at the same time, to discover one's own identity.'
Back in Rome, he wrote radio scripts and started collaborating on film scripts. In 1943, after a four-month courtship, he married the actress Giulietta Masina, later the star of many Fellini films, including 'La Strada,' 'The Nights of Cabiria,' 'Juliet of the Spirits' and 'Ginger and Fred.' She was a major inspiration for his life and work, and is his only survivor.
His efforts to avoid the World War II draft appeared doomed in 1943 when he was ordered to undergo a medical examination. But according to Ephraim Katz's 'Film Encyclopedia,' his records were destroyed in a bombing. Later, by hiding in Rome's slums, he eluded German Occupation troops, who regularly searched the city for Italian men to replenish the armed forces or to toil in slave-labor camps.
Present at the Start Of a Renaissance
In 1944, soon after the Allies liberated Rome, he and several friends opened the Funny Face Shop, a highly prosperous arcade that provided Allied troops with caricatures, portraits, photos and voice recordings for their families. The film director Roberto Rossellini visited the shop and asked him to collaborate on a documentary about the Nazis' occupation of Rome. The venture evolved into 'Open City' (1945), a benchmark neo-realistic movie that ignited Italy's postwar film renaissance.
Mr. Fellini was the assistant director of 'Open City' and a co-writer and assistant director of Mr. Rossellini's second celebrated antiwar film, 'Paisan' (1946), and his controversial religious film, 'The Miracle' (1948), in which Mr. Fellini was co-star with Anna Magnani. He also became known as Mr. Rossellini's idea man.
After several stints as a co-writer or assistant director for Pietro Germi and Alberto Lattuada, Mr. Fellini made his directorial debut in 1951, collaborating with Mr. Lattuada on 'Variety Lights,' a comedy-drama about the ups and downs of a troupe of third-rate traveling vaudevillians. (It was not released in the United States until 1965.) His first solo directorial effort was the 1951 'White Sheik,' released here in 1956, a broad lampoon of Italy's adult comic-strip industry. Both movies were critical and commercial failures, but they were later re-released and praised.
Determined to direct films, Mr. Fellini struggled financially to complete his next project, 'I Vitelloni,' which became a major success in Italy and abroad. He consolidated his international prestige with 'La Strada.'
The film maker was an exuberant, articulate, bearlike man with an expressive face, a whimsical charm and a spontaneous, demonstrative manner. He often gestured with both hands, even while driving one of his favorite motor cars.
Tolerant Overseer Of Sets of Babel
On movie sets, he savored his power as the ringmaster of a Felliniesque world. Jauntily wearing a wide-brimmed, usually black hat, he dominated the scene, alternately improvising, quipping and clowning. Some directors insist on silence on the set, but he preferred a touch of chaos.
He liked to shoot scenes sequentially, but he usually did not care in what language performers spoke because he dubbed most dialogue, often using other actors to do so because he believed the voices of most people did not match their looks.
Over the years, he directed thousands of nonprofessional actors. He was very demanding of performers, usually cajoling them to get what he wanted, and he coaxed many professionals to give the best performances of their careers.
For decades, the Fellinis had a small apartment in Rome for convenience, but their principal home was a modest seaside house he built in 1965 in the suburb of Fregene.
He read widely in his youth but later concentrated on newspaper articles, which provided grist for his imagination. Asked once by a friend when he planned to take a vacation, he replied quickly: 'Making a movie is my vacation. All the rest, the traveling about to premieres, the interviews, the social life, the endless arguments with producers who don't understand me, that is the work.'
He is survived by his wife.
A POET WHO SANG A SONG OF HIMSELF
Federico Fellini was a poet of the cinema whose work, illuminated by unforgettable images, was intensely autobiographical. These are some of his films and when they were made, followed by the dates of release in the United States.
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Incredible letter from the early 90's that is more relevant than ever.
To the Editor:
“Federico Fellini as an example of a filmmaker whose style gets in the way of his storytelling and whose films, as a result, are not easily accessible to audiences. Broadening that argument, it includes other artists: Ingmar Bergman, James Joyce, Thomas Pynchon, Bernardo Bertolucci, John Cage, Alain Resnais and Andy Warhol.”
It’s not the opinion I find distressing, but the underlying attitude toward artistic expression that is different, difficult or demanding. Was it necessary to publish this article only a few days after Fellini’s death? I feel it’s a dangerous attitude, limiting, intolerant. If this is the attitude toward Fellini, one of the old masters, and the most accessible at that, imagine what chance new foreign films and filmmakers have in this country.
It reminds me of a beer commercial that ran a while back. The commercial opened with a black and white parody of a foreign film—obviously a combination of Fellini and Bergman. Two young men are watching it, puzzled, in a video store, while a female companion seems more interested. A title comes up: “Why do foreign films have to be so foreign?” The solution is to ignore the foreign film and rent an action-adventure tape, filled with explosions, much to the chagrin of the woman. It seems the commercial equates “negative” associations between women and foreign films: weakness, complexity, tedium. I like action-adventure films too. I also like movies that tell a story, but is the American way the only way of telling stories? The issue here is not “film theory,” but cultural diversity and openness. Diversity guarantees our cultural survival. When the world is fragmenting into groups of intolerance, ignorance and hatred, film is a powerful tool to knowledge and understanding.
To our shame, your article was cited at length by the European press. The attitude that I’ve been describing celebrates ignorance. It also unfortunately confirms the worst fears of European filmmakers. Is this closedmindedness something we want to pass along to future generations?
If you accept the answer in the commercial, why not take it to its natural progression:
Why don’t they make movies like ours?
Why don’t they tell stories as we do?
Why don’t they dress as we do?
Why don’t they eat as we do?
Why don’t they talk as we do?
Why don’t they think as we do?
Why don’t they worship as we do?
Why don’t they look like us?
Ultimately, who will decide who “we” are?
— Martin Scorsese
[New York, 19 Nov 1993]
Via The Criterion Collection
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