小女孩哈瓦用手比劃著小樹(shù)棍投下的影子，著急地說(shuō)：“等到影子沒(méi)有的時(shí)候，我就要回家了?！彼男』锇閰s并不明白這樹(shù)影的含義。也許她自己也不明白，什么叫作，“今天開(kāi)始你是個(gè)女人了……”。對(duì)于9歲的哈瓦來(lái)說(shuō)，如果好好利用這央求來(lái)的“最后一個(gè)小時(shí)”才是問(wèn)題。導(dǎo)演的鏡頭卻有些殘忍，這一個(gè)小時(shí)竟然就這樣無(wú)所事事的虛度了過(guò)去，當(dāng)她和小男孩你一口我一口吃著棒棒糖而高興起來(lái)的時(shí)候，媽媽準(zhǔn)時(shí)來(lái)到她身邊，為她戴上面紗?！耙呀?jīng)中午了?！敝皇且粋€(gè)小時(shí)的時(shí)間，如此清晰地標(biāo)示出她生命的節(jié)點(diǎn)，從這里開(kāi)始，一段人生結(jié)束，而另一段開(kāi)始了……

三個(gè)不同人生階段的女人，一個(gè)女人三個(gè)不同的人生階段，怎樣理解都可以。童年、青年、老年，每個(gè)階段所處不同的角色讓女人陷入不同的內(nèi)心與外界撕扯之中。童年時(shí)期是環(huán)境與外界的啟蒙，長(zhǎng)者要求你干什么，你在不解或不愿意的前提下依舊會(huì)遵守與順從，因?yàn)槿烁襁€沒(méi)有健全與完善，更談不上獨(dú)立。

即將9歲的小女孩哈瓦被長(zhǎng)輩禁止與男孩接觸，要開(kāi)始戴上黑色面紗，她不知道為什么要這樣，但她知道她得聽(tīng)話(huà)。她得在中午12點(diǎn)之前回家，因?yàn)?2點(diǎn)她剛好9歲，12點(diǎn)之前是她僅剩的自由時(shí)光。她在朋友屋外插入一根木棍，當(dāng)木棍的影子消失便是正午12點(diǎn)。她在屋外，朋友在屋內(nèi)，她買(mǎi)了棒棒糖與朋友你一口我一口的分享，這一對(duì)青梅竹馬眼里滿(mǎn)是純真與浪漫，以及無(wú)奈。對(duì)哈瓦來(lái)說(shuō)，她即將被自己的國(guó)家與文化禁錮，在還沒(méi)有獨(dú)立人格與獨(dú)立思考的階段被教化。

青年時(shí)期的女人阿和與一群帶著黑色頭巾的年輕女人們一起進(jìn)行自行車(chē)比賽，她的家人們一個(gè)個(gè)騎馬趕來(lái)阻止她的騎車(chē)行為，這在家人眼中是大逆不道，丈夫甚至?xí)榇硕x婚。但阿和依舊一言不發(fā)的堅(jiān)定的向前騎行，不斷加快速度試圖擺脫家人們的糾纏。這是一個(gè)獨(dú)立人格成型，擁有獨(dú)立思考能力和自我意識(shí)的女人進(jìn)行反抗與堅(jiān)守的人生階段，態(tài)度明確，但她最終還是被家人們攔了下來(lái)，一切似乎都在向更糟的境遇發(fā)展。

年邁的老太胡拉購(gòu)買(mǎi)了大量商品對(duì)方在海灘等待運(yùn)走，海邊的小孩子們面對(duì)琳瑯滿(mǎn)目的貨品新奇不已，這些東西對(duì)于他們來(lái)說(shuō)太過(guò)奢侈，而瘋狂購(gòu)物的老太似乎在彌補(bǔ)曾經(jīng)失去的自我和時(shí)光。如今年邁的她可以買(mǎi)任何自己想買(mǎi)的東西，可以做任何自己想做的事，但她也沒(méi)有精力來(lái)享受這一切，享受獨(dú)立的自我與生活，瘋狂的報(bào)復(fù)性消費(fèi)更顯悲涼。

在心裏對(duì)他們說(shuō)，我走在我的路上，快慢與你無(wú)關(guān)。從來(lái)都是那樣的?！}記

［1］胡拉

我是我，像別的女人一樣，九歲開(kāi)始戴黑頭巾。這片土地的女人，這塊天空，這碧海銀沙都和從前沒(méi)什麼兩樣。一直沉默又永恆。

很小的時(shí)候，他們叫我哈瓦。哈瓦一點(diǎn)也不哭，哈瓦是有耐心的人。哈瓦有奶奶給與的智慧，那是婦女代代相傳下來(lái)的生活哲學(xué)。是神的旨意與牽引。哈瓦很平靜，如奶奶所希望。哈瓦努力爭(zhēng)取成為女人前最後的一點(diǎn)時(shí)間。離成年的中午的最後一個(gè)小時(shí)，糖果在我和海森之間傳遞一次又一次，那是我生命裏最甜美的一個(gè)小時(shí)。後來(lái)的我總會(huì)記得，生命的甜美就是那樣還沒(méi)有來(lái)得及明白就開(kāi)始一點(diǎn)點(diǎn)消逝。從我成為他們規(guī)定的女人的那一天，生命的一切都不可避免的只是減損，越來(lái)越單薄。

我結(jié)婚以後，他們叫我阿河。我所能記得阿河的故事，只是那一次自行車(chē)比賽。那場(chǎng)比賽後，阿河失去了所有親人。那一天，阿河咬著牙說(shuō)，好，我同意。於是她就被他們的世界放棄了也因此成為獨(dú)立的人。我被捨棄，然後我也捨棄了他們，我做得到一個(gè)人面對(duì)神靈。我成為了一個(gè)徹底無(wú)牽絆的女人。

當(dāng)一個(gè)人選擇了孤獨(dú)，語(yǔ)言是多餘的東西。我已經(jīng)很久沒(méi)有和人說(shuō)話(huà)過(guò)。我已經(jīng)很久都不在意別人說(shuō)什麼，無(wú)論是嘲笑還是褒獎(jiǎng)。最後的一天，我把一生所有的願(yuàn)望用五色的布條系在手指間。我信任時(shí)間的積累早已經(jīng)讓我銘刻於心。我突然記得我缺了一件東西，可是我記不得到底是什麼。童年時(shí)，我丟失了自由。青年時(shí)，我丟失了家庭。老年時(shí)，我沒(méi)有什麼可以丟了，因?yàn)槲冶皇澜鐏G了。我只能用金錢(qián)將“自己”一點(diǎn)點(diǎn)買(mǎi)回來(lái)。我買(mǎi)冰箱微波爐，買(mǎi)回家庭主婦的那個(gè)我。我買(mǎi)婚紗花束，買(mǎi)回新娘的那個(gè)我。那一天我，也就是胡拉，說(shuō)，把我的東西搬到船上來(lái)吧。我的船緩緩駛向大海深處。那是我生命最後的一天。最終的一天，我走向了海，帶著整個(gè)人生的重量與收穫?cè)プ鲎钺岬穆眯?。生活辛苦的印痕不再深刻。此生遇?jiàn)的不同臉孔都已經(jīng)消失，記憶的圖景都輾軋成虛幻的灰燼，聽(tīng)過(guò)的音樂(lè)都如耳邊風(fēng)吹過(guò)又散。當(dāng)海水漸沉，生命之火搖晃它最後一點(diǎn)微弱光芒。我的笑容仿佛是遲來(lái)的燕子，帶來(lái)過(guò)期的消息。望穿人間風(fēng)景後，內(nèi)心充滿(mǎn)感謝。而且，在最後的時(shí)間，為內(nèi)心的純潔，覺(jué)得驕傲，覺(jué)得勝利。這是我智慧的方式。這是一個(gè)女人真正的勝利，我終於離開(kāi)了他們，我將與天神在一起。

這就是我簡(jiǎn)潔的一生。我的人生在一開(kāi)始，便被各種力量免費(fèi)預(yù)支了。這裏女人的命運(yùn)，沒(méi)有什麼是不同的。男人的世界與女人的世界是割裂的。男人是神的最高意志執(zhí)行者。女人信神，卻只能是神和男人們的女僕。女人是沉默的。沉默如空曠的海灘。黑頭巾賦予我們黃金一樣的性格，隱忍，執(zhí)著，順從，還有隱藏的生命的智慧。

［2］哈瓦

那一天，我9歲，我見(jiàn)到了我的未來(lái)。

［3］阿河

那一天，我被丈夫拋棄了。我在那一天見(jiàn)到我的過(guò)去和我的未來(lái)。

［4］我

當(dāng)我看完這個(gè)影片，還是有很多疑惑。導(dǎo)演到底是傳達(dá)了什麼資訊呢？

整個(gè)影片畫(huà)面清爽，情節(jié)也很簡(jiǎn)單。也許這些不足夠去詮釋一個(gè)或者一類(lèi)女人的一生。但是我還是認(rèn)為它起碼能說(shuō)明一件事。那就是女性的智慧是深藏的，女性更靠近神靈，更有和神靈溝通的能力。影片緊緊抓住了成為女人的一瞬間。第一次是一個(gè)小女孩正式通往女性世界。第二次是一個(gè)有主見(jiàn)的女性擺脫他人主宰的生活。第三次是一個(gè)老年女士總結(jié)並且回饋?zhàn)约旱囊簧?。我以為一個(gè)小孩子變成一個(gè)真正的女人必定要有這樣三步，首先學(xué)會(huì)尊重他人的世界，被大的世界接納，然後找到自由，最後找到快樂(lè)。在一個(gè)相對(duì)封閉的環(huán)境裏，生命的樣式總是那麼單調(diào)。一個(gè)女子想要自己的人生，必然是永久的順從，或者是永久地反叛下去。至於順從還是反叛都不該被品評(píng)高下，只是天生的性情。女子的人生可以在灶臺(tái)前沉默演繹，也可以是在高檔貨櫃前流連。女子可以是被親族寵愛(ài)，也可以是倔強(qiáng)地孤獨(dú)。女子只要她有她獨(dú)立的思考能力和靈魂，那麼她的人生就像男性一樣，是勝利。

哈瓦插下小小的樹(shù)枝，小心地規(guī)劃時(shí)間，她以這樣的平靜來(lái)面對(duì)接下來(lái)漫長(zhǎng)的人生?？墒俏也荒芎?jiǎn)單說(shuō)，她的內(nèi)心是不自由的。成年是走向未來(lái)的大門(mén)。阿河失去了親眾，失去了生活的保障。同樣我們不可以簡(jiǎn)單判斷她的人生將是蒼白的，將是飄搖的，不幸福的。胡拉用畢生的心血買(mǎi)了一大堆她根本不需要的東西。難道她的行為只是無(wú)意義的瘋狂麼？這是她回應(yīng)他們的世界的一種方式。她用了一生去準(zhǔn)備這個(gè)回答。儘管，我們可以為她們每個(gè)行為都找出一個(gè)解釋?zhuān)墒钦f(shuō)起來(lái)，這一切還是悲涼。一個(gè)小女孩失去了和小夥伴玩耍的純真童年，一個(gè)青春妙齡女郎失去了家庭，一個(gè)老人孤苦伶仃，連街上的大孩子也不喜歡她。她們的人生是如此狹小，她們的生活是這樣缺乏顏色?？?fàn)幍慕Y(jié)果就是終生存在各種無(wú)法彌補(bǔ)的缺憾。不抗?fàn)幍慕Y(jié)果就是終生只有不是自己選擇的生活。

這片土地盛產(chǎn)淚水麼？

我們女人只可以靜靜佇立在海邊。亭亭的姿態(tài)是自己的孤歡。悲喜的滋味早已經(jīng)辨不出。

人生只是秘密。無(wú)解答的秘密。天空知道，海鳥(niǎo)知道，你我卻永不知道。 但是我珍惜這仰望天空的方式。這是我對(duì)生命的方式。我說(shuō)好，童年的夥伴，再見(jiàn)了；我說(shuō)好，丈夫如果你想那麼就請(qǐng)放掉我吧。我說(shuō)好，謝謝你，人間，我已經(jīng)滿(mǎn)意了。 我也只是天地間匆匆的過(guò)客。我也一樣走向永恆的彼岸。 我是我的音樂(lè)。我是我的畫(huà)卷。我是我的全部。

只要頭頂?shù)奶炜?，腳下的路。 只要簡(jiǎn)單的生活，簡(jiǎn)單的原則。 不要問(wèn)我為什麼一個(gè)人，不要問(wèn)我為什麼這樣疲憊。 請(qǐng)你只是經(jīng)過(guò)。 請(qǐng)不要打擾。 你好。 謝謝。

再見(jiàn)。 *06年寫(xiě)的影評(píng)。

In the first story of the film, Hava is told that she will become a woman in an hour. In fact, “becoming” is a constant, chronic process that runs through a woman’s entire life, or else how come the following two stories of the trio? I regard this film as a representation of women’s oppression – the social, cultural and religious forces that violently shape women – but also that of women’s resistance.

The first story of Hava denaturalizes the process of becoming a woman, stressing the forcible intervention of religion and culture in that process. In the first few minutes of the film, the question strikes us how anyone can become a woman at such an exact moment, at noon, as with Hava, or at any specific hour. Then I realize that womanhood is not a natural state that someone grows into, nor a physiological stage that means something inherently different; womanhood is imposed on Hava, with the headscarf as a symbol. Just as the headscarf, womanhood comes abruptly to Hava’s life, depriving her of the freedom of childhood. A line is suddenly drawn between Hava and Hassen, who were both “children” just an hour before, but now Hava is a “woman” and everything has changed.

If the headscarf serves as a sign of womanhood, the scene where Hava takes it off in exchange for the toy fish is particularly telling of her inner world, but also foreshadows her future life. When Hava makes this exchange, which entails the removal of her headscarf, she goes back to the state of a carefree girl absorbed with toys. Moreover, she tries to let the toy fish float towards the deep waters, which carries her own hopes of freedom and a bright future. However, it’s high tide and the water flushes the fish back. In the end, only the boys sail for the future, and girls could only go home – Hava’s mother finally puts the headscarf back on Hava’s head and takes her away, making her a woman again. The shot of the black sail appears at the beginning and is repeated at the end of the story. With its black color and soft texture, the black sail speaks to the motif of the headscarf in a questioning way: why does the former belongs to the men while the latter belongs to the women? Why does the sail promise a future while the headscarf deprives one?

A final thought on the first story is about the scene at Hassen’s window. The shot-reverse-shot shows Hava and Hassen both behind the incarceration bars in each other’s point of view. It tries to suggest that the making of woman is never women’s own business; it influences men as well and shapes society.

As recurrent motifs, the sea, the beach, and the headscarf also continue into the later stories. Hava stays at the beach when the boys sail towards the deep sea; as if chasing back the freedom once lost, Ahoo is doing bicycle racing at the seaside. If the first story shows how culture and religion makes a woman, Ahoo’s story shows how the inequality of power between (broadly speaking) genders brutally curbs a woman’s possibilities in life. After four rounds of interceptions and coercions, Ahoo’s husband and male reletives finally take away her bicycle by force – from the increasingly distant perspective of the rival cyclist, we look back on Ahoo being encircled by two men on horses, shouting and screaming in vain.

The tension between the bicycle and the horse suggest a clash between the new and the old worlds, the former inevitably being caught among the powers of the latter, just as Ahoo being caught between the two horses. The wind blows into Ahoo’s headscarf, which almost drops at a certain point, but she clenches it between her teeth and doesn’t let it go. Perhaps religion has become an integral part of herself, and some of the gender roles have been internalized. Dialogue is sparse; most of the time there’s only the sound of breath and the noise of bicycles; alternatively, a kind of monotonous high-pitched sound and some stylized folk songs come with the dramatic moments, such as the approaching of the horses, or the ending scene. In my perspective, the monotonous sound highlights the moments of inner struggle, while the folk song, sung by a male, symbolizes the influence of patriarchy.

One of the elder men askes Ahoo: “Haven’t you got enough sunshine?” For the protagonist of the third story, Hoora, the answer is clearly “not enough,” for which reason she chooses to die in the sunshine. So near her death, is Hoora still “becoming a woman”? For me this final story is the most elusive one, conveying many contradictory messages. She finally “buys” her own freedom, but the story also tells us that the impossibility to buy a child is a regret; She takes a wedding dress with her till the end of her life, which might suggest a returning to family life (or, is she wedded to the sea, the freedom?), but the story also shows boys wearing make-up and the very wedding dress. And what does it mean that she insists on replacing the “naked teacup”?

It’s high tide in the first story, where freedom is taken away. Now it’s falling tide and Hoora finally sets sail, as the boys do, but she is just coming to her death. It questions whether women can gain and enjoy freedom in the world, where they are made to be shackled, where the making of a woman means the deprivation of her freedom.