1968年，五月风暴席卷法国，学生运动风生水起。年轻的诗人弗朗西斯（Louis Garrel 路易斯•加莱尔 饰）逃避兵役，沉湎于大麻、诗歌和爱情之中，与好友安东尼一起，自由挥霍混乱时期的青春。不久一名叫莉莉的女孩出现在弗朗西斯面前，她是个雕塑师，在铸件厂工作。两人很快坠入爱河。 一年后，弗朗西斯依然过着颓废自由的生活，而机缘之巧合却使莉莉开始认真思考两人的将来……
在哪里观看平凡情人
- Deontay Wilder2026年6月12日Philippe Garrel’s Regular Lovers is a film about the aftermath of revolution, but even more profoundly, it is a film about the aftermath of youth. Shot in luminous black-and-white by William Lubtchansky, Garrel’s three-hour chronicle begins amid the barricades of May 1968 and slowly drifts away from history and into something more elusive: the melancholy realization that political awakening, artistic ambition, romantic ecstasy, and self-destruction often arrive in the same package. The opening hour depicts the Paris uprisings with a startling physical immediacy. Tear gas drifts through the frame, police charge through narrow streets, and young bodies scramble across rooftops. Yet Garrel has little interest in the conventional grammar of historical cinema. Unlike films that treat May ’68 as either triumph or failure, Regular Lovers regards it as a fleeting state of grace. Revolution appears less as a political event than as a momentary suspension of ordinary life, a brief period when anything seems possible. After the barricades fall, the film settles into the lives of François (Louis Garrel) and his circle of friends. They gather in vast apartments, smoke opium, debate art, make love, and drift through days without structure. Garrel observes these scenes with extraordinary patience. The film’s length is essential to its effect; time itself becomes the subject. Conversations trail off, parties dissolve into silence, and entire evenings seem to evaporate before our eyes. What emerges is not boredom but the texture of a generation confronting the void left behind when history moves on. Louis Garrel’s performance is one of the great achievements of contemporary French cinema. He embodies a particular kind of romantic exhaustion, simultaneously detached and deeply vulnerable. His François belongs to a lineage that stretches from Musset’s dreamers to the young men of Bresson and Eustache: figures who mistake sensitivity for purpose and discover too late that they are not the authors of their own lives. The love story between François and Lilie (Clotilde Hesme) forms the emotional center of the film. Garrel depicts their relationship with a tenderness that avoids sentimentality. Their romance feels inseparable from the historical moment that produced it. Like the revolution itself, it exists in a fragile present tense, sustained by the belief that the future can be postponed indefinitely. When reality finally intrudes, the heartbreak feels less like a dramatic rupture than an inevitable fading away. What distinguishes Regular Lovers from other films about disillusionment is Garrel’s refusal to judge his characters. The film neither condemns their decadence nor romanticizes it. Instead, it understands the peculiar sadness of being young enough to imagine total freedom and old enough to recognize its impossibility. The opium haze, the endless conversations, and the cultivated idleness are not presented as acts of rebellion but as symptoms of a generation searching for meaning after the collapse of collective purpose. Lubtchansky’s cinematography is among the most beautiful of the twenty-first century. Faces emerge from darkness with the sculptural clarity of silent cinema. Interiors seem suspended outside time. The black-and-white imagery transforms memory into a physical substance, giving the film the feeling of a recollection that is simultaneously vivid and already disappearing. Few films have captured the relationship between politics and personal life with such delicacy. Garrel understands that revolutions do not end when crowds disperse; they continue within the private disappointments, romances, and compromises that follow. Regular Lovers is therefore not simply a film about May 1968. It is a film about what remains after every moment of collective ecstasy has passed. By its final scenes, Regular Lovers has become something devastating: a work of mourning for a generation, a love story, and a meditation on the slow erosion of youthful certainty. It stands alongside Jean Eustache’s The Mother and the Whore and Bernardo Bertolucci’s Before the Revolution as one of cinema’s great portraits of post-revolutionary melancholy. Garrel’s masterpiece reminds us that history’s most lasting wounds are often the ones carried quietly within individual lives.
平凡情人花絮
平凡情人于2005年9月30日发布。
平凡情人由Philippe Garrel执导。
平凡情人的时长为3小时 3分钟。
平凡情人由Gilles Sandoz制作。
1968年，五月风暴席卷法国，学生运动风生水起。年轻的诗人弗朗西斯（Louis Garrel 路易斯•加莱尔 饰）逃避兵役，沉湎于大麻、诗歌和爱情之中，与好友安东尼一起，自由挥霍混乱时期的青春。不久一名叫莉莉的女孩出现在弗朗西斯面前，她是个雕塑师，在铸件厂工作。两人很快坠入爱河。 一年后，弗朗西斯依然过着颓废自由的生活，而机缘之巧合却使莉莉开始认真思考两人的将来……
平凡情人中的关键角色有François Dervieux（Louis Garrel）, Lilie（Clotilde Hesme）, Gauthier（Nicolas Maury）。
平凡情人是一部剧情, 爱情电影。
平凡情人的观众评分为7（满分10分）。
平凡情人的票房收入为US$13万。