2018
Chicago International Film Festival
金雨果獎
Directed by 阮芳英
不難讓人聯想到張藝謀的《大紅燈籠高高掛》
《你的紅不是我的虹 — 落紅》 靜謐的氛圍，詩意的構圖美感，很難不讓人聯想到，同樣是越南出身的陳英雄導演，榮獲坎城電影節金攝影機獎之作《青木瓜之味》，但在《落紅》將那種雨季中清新卻沈重的濕氣，透過鏡頭帶領觀眾身歷其境，從悠悠地水道駛向，緩緩而來的生命，暗喻著產道與出世的瞬間，一切明朗了起來，卻也明亮地令人迷茫。 主角是一位被封建習俗吞噬的少女，從出嫁到生產，無一不被這吃人的禮教給侵蝕，從肚臍上象徵著受精的蛋黃被吞食，她所嚮往的孕育已然成為，將五臟六腑與心智同時移挪的使命，而女主角生育前，在懷胎十月的肚皮放上了一片嫩葉，那是期盼，卻也如葉被風吹逝而落空。 故事裡包含著一次出生與一次死亡，死亡的是那位，與女主角一樣被安排，卻無法完成孕育使命的少女，彷彿她在這世間猶如客體，性與權力紮實地綑綁，終而將母體給異化。 說著長大後要成為男人的女童，最後剪去了長髮，這三千髮絲，呼應著春蠶到死絲方盡，這樣的故事似乎有點遙遠，卻也不是那麼遙遠。
使用大量主角小雲的主觀鏡頭，帶領觀眾一同進入十九世紀末越南封閉的傳統家庭。「河」束縛著大宅內女人們的人生自主權。開場小雲在船伕的帶領下渡河嫁入，後段阿雪於河畔上吊自殺。在喪禮後，小雲抱著女兒獨自遠走，最終，也只能止步於河畔，實體地被環境拘禁於這個家族、傳統內。小雲摘起黃花，意圖毒殺女兒，對應單少爺與父親乘船帶著阿雪的棺材離開，暗示著唯有死亡才能脫離。
本片配樂是由越南裔法國人作曲家尊室安所創作，在配樂中運用傳統樂器及小提琴等樂器，融合了東西方音樂。尊室安也曾以廖士賢《遙遠的所在 Styx》，獲得第30屆金曲獎最佳編曲人獎。
24:27 「我長大後會變成男生」 「真的，我會變成男人，娶很多妻妾」 孩子的童言童語，卻讓人看了心疼不已。連孩子都能感受，在封建的社會制度之下，唯有身為男性才擁有話語權及選擇權。
在《落紅》中，19世紀末父權社會的壓迫展現在女人的日常生活上，而並非藉由單一角色來演繹。電影中的男主人，並不特別令人討人，他只是扮演著社會期待一個男主人，或說一個男人該有的角色，而女人在男尊女卑的環境中的處境則透過三位女性角色的日常展現。
19:13 電影將蠶寶寶吐絲結繭的畫面與小雪的孕程並置，產生了強烈的視覺隱喻 - 蠶寶寶的成長象徵小雪的初夜、懷孕、被迫蛻變為女人的過程，以及傳宗接代的任務；導演更用繭中吐絲的蠶，暗指大宅生活的束縛與孤立。
2:05 顏色在電影中扮演了非常重要的角色，一開場主角小雪身穿白衣披上的紅色披巾，即毫不掩飾地象徵著落紅的意象。而故事中三位女性角色的服飾顏色也隨著劇情發展，地位的轉換而有所變化。整部電影中顏色的意象表現的既鮮明又細緻。
想分享一版我很喜歡的《落紅》海報，直立式的一隻眼睛流著血，就像是女性的陰戶落紅流下的血。女人用眼睛見證著自身的命運，流出來的淚堪比血。 象徵巧妙的雙關，分享給大家！
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