中國文化大革命政治狂熱的紅色烈火燒到一間巴黎公寓。裡頭住著三男兩女，有演員（Jean-Pierre Léaud）、農家女（Juliet Berto）、女大學生（Anne Wiazemsky，高達的第二任妻子）、化學家、畫家，人人手裡一本小紅書，聽著「北京廣播電台」，談論劇場、早期電影、毛語錄。只不過「革命不是請客吃飯」，不是聽聽＜國際歌＞就算。這群小馬列主義者盤算採取暴力手段讓大學關門，甚至暗殺來訪巴黎的俄國文化部長。高達在《中國女》中大膽實驗電影形式，留下影史中運用色彩、文字插卡、漫畫、訪談技法的經典，更預言1968年的法國五月學運。
The fire of the Chinese Cultural Revolution is burning in a Parisian apartment in 1967. A Maoist group of three male and two female petit Marxist-Leninists reside in this red haven, which consists of an actor (Jean-Pierre Léaud), a farmer’s daughter (Juliet Berto), a university student (Anne Wiazemsky, Godard’s second wife), a chemist, and an artist. Each of them holds “the Little Red Book that makes it all move,” listens to the Radio Peking, and discusses Maoist ideas, real theatre, early cinema, and, of course, the possibility of revolutionary actions. However, “the revolution’s no party” and they won’t stop at listening to the “Internationale.” They plan to employ violent means to close the universities and even assassinate the visiting Minister of Culture from Russia. Anticipating the events of May 1968, the quintessential New Wave auteur Godard boldly experiments with cinematic forms in La Chinoise, incorporating color schemes, calligraphic textuality, comic strips, and interview sequences. |
