A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.”
#Berlinale72论坛 1.5/5 本片可能放在画廊还能忍受，因为画廊能装下各种奇奇怪怪假装是video art的video shit；能在柏林电影节首映，可能因为加起来不超过5分钟还算勉强有点意思的画面和关键字组合“阿拉伯+同性+3P”。说到3P，看的过程中出去上了趟洗手间回来还在讲，出去喝了口水回来还在讲，出去和同事聊了几句天回来还在讲……从来没看过这么无聊的同性电影。可怕的口述历史，所有人说话都死不烂孱（这是我本届柏林电影节第二次用这个词），连歌都唱得都死不烂孱（第三次），（谁能帮忙指点下迷津这是什么表达方式？）中间还有一段可怕的快速念台词（“我知道你死了”选段），就像我们话剧演出前快速过台词一样无情无意无理取闹，画面也实在没有什么存在的必要，还不如把故事讲给小岳岳让他来个单口。
没看过原莎剧有点理解困难
看了，没看懂，但觉得还是得支持
相较于十四行诗、阿拉伯唱段等花哨的形式，能有这样一部对准埃及同志群体的影片，显然更重要一些。
这点心得写日记就好了，拍什么电影。