[satyamev jayate」意为“真理战胜一切"，这句话写在印度国徽上，是印度的座右铭。宝莱坞电影巨星阿米尔汗历时两年，打造出这一关注社会、贴近民众、深层次揭露社会问题的节目。他采访不同阶层印度人的真实故事,大胆曝光印度社会种种弊病,力图以残酷真相打动和唤醒大众,进 而努力改变现状、治愈丑陋伤疤。
Episode 1: Fighting Rape 对抗强暴
The first episode of Satyamev Jayate Season 2, telecast on March 2, 2014, dealt with the issue of rape and underlined several systemic factors that act as roadblocks on the path to justice for survivors.
The Vote for Change campaign for this episode centred around three focal points:
The setting up of One-Stop Crisis Centres in every district of India as per the guidelines recommended by the Justice Usha Mehra Commission.
The creation of Vulnerable Witness Deposition Courtrooms across the country.
A gender-sensitive, scientific and humane protocol for the medical examination of survivors of rape, to be uniformly implemented across the country.
Episode 2: Police 警察
On March 9, 2014, the second episode was telecast and it dealt with the need for reforms in the police. In 21st century India, the system of policing is still by and large within the framework of the 1861 Police Act introduced during the colonial British Raj. The police continues to be a ruler’s police rather than a people’s police.
The Vote for Change campaign for this episode urged citizens to support the demand that the 2006 judgment of the Supreme Court in the case filed by former DGP, UP, Shri Prakash Singh be implemented and a people-friendly police force be created.
Episode 3: Don’t Waste Your Garbage 不要看浪费你的垃圾
The third episode of Satyamev Jayate, telecast on March 16, 2014, dealt with one of the most shameful problems persisting in our cities and towns, viz: garbage and the scandalous state of solid waste management.
The Vote for Change campaign for this episode called upon people to support the demand that incinerator technology for burning waste be opposed and that state governments and union territories work towards implementing the Municipal Solid Wastes (Management and Handling) Rules, 2000.
Episode 4: Kings Every Day 我自君王，每日
Telecast on March 23, 2014, the fourth episode dealt with the need for strengthening grassroots democracy and in particular, highlighted important measures to help fight corruption and increase public participation in governance.
The Vote for Change campaign for this episode urged citizens to lend their support to the demand for social audits of the government’s expenditure on social welfare, and the passing of the Public Services Grievances Bill which will help ensure that essential services are delivered in a time-bound manner to citizens.
Episode 5: Criminalization of Politics 政策犯罪
Satyamev Jayate’s fifth episode, telecast on March 30 2014, dealt with the rampant criminalization of politics in our country.
The Vote for Change campaign for this episode called upon people to support the demand that the proposal of the Election Commission to debar candidates with serious criminal charges (with appropriate safeguards) is brought into effect and such candidates are not allowed to contest elections.
Just came out of my meeting with Honorable Prime Minister of India Shree Narendra Modiji. Was very kind of him to spare his valuable time.
— Aamir Khan (@aamir_khan) June 23, 2014
Shared with him the overwhelming support that we got from people across the country through Vote for Change Campaign...
— Aamir Khan (@aamir_khan) June 23, 2014
..on SMJ on the various issues that we tackled in our show. He has assured me that he will look into all the matters pic.twitter.com/AI7e8cX9Bn
— Aamir Khan (@aamir_khan) June 23, 2014
http://www.satyamevjayate.in/petitions-reach-topm.aspx
夜色一样轻盈温柔地疗愈，女性和母亲的力量。
如果我们为了过去的损失而耿耿于怀，而维权所耗超过同样时间所得，那么我们可以选择关注未来，把过去放下一点。
把戏剧性的破碎时刻全都揉进平淡无奇的生活里，不疾不徐地气质不温不火地从头到尾，创作者找到自我表达的方式就让人看起来十分舒服。
生活里重要的究竟是什么呢？成长、反思、个性、正义？还是享乐？到最后唯一能让人感到慰藉的只有善良和爱，其他的一切好像只是为了让人在短暂的一生中有事可做。
最后每个人都获得了爱好和生活的匹配，敏感细腻的妈妈在夜间电台收获了事业，迷茫的喜欢看电影的小姑娘去影院收票，弟弟坚持写诗，姐姐终于长大独立投身于政治。失婚的妈妈有更好的第二春，孩子们从未离开她。只是这么美好的事情，只能存在于2022年拍摄的设定在1984年的事，比科幻电影还架空，因为现实已经不能指望了。法语好听的习惯性4星
彼此生命中的奇迹，时代洪流里的尘埃。原来是Amanda的导演，我说怎么有种熟悉感，甚至复现了Ophelia少得离谱的戏份
7.5/10。甘斯布是这部电影的灵魂，她仿佛成为了巴黎这座城市的化身。街头少女与城市的叠影，静谧中隐藏着奔放的因子。这是我最喜欢的一类法国电影，米夏埃尔·艾斯是个浪漫到骨子里的家伙，最后一段温柔的小夜曲让我差点流泪。《圆月映花都》和《北方的桥》，我们深情回望着黄金年代。（好喜欢他们的装修风格啊）
怀疑是不是脆弱的人就可以得到更多的爱 所有的一些都流动 人物 场景 时间 他们的人生 但是一切都显得呆板又刻意！
有一种温暖的东西是永存的，时间无法使它停止。比如骑着电动车载母亲，载女朋友，一家人听着音乐抱在一起跳舞。母亲演得好，让治愈的故事立住了。时不时插进的4比3 dv视角也挺有意思的，“我们在别人的碎片里”。女生与巴黎的溶接，大家同是巴黎夜旅人。迷影情节，本身是影迷，然后两次看《圆月映花都》
之夏
220706 【C+】应该怎么说呢，好看但又算不上是很喜欢的一类电影。也想找寻一个夜晚将足迹恒久停留在此地，不再眷恋逝去的时光，为还未到来的日子而舞蹈。影片对都市样貌与生活映像的书写近乎于导演的私人情结，其中最为美丽和接近梦幻的时刻都是由慵懒而随性的状态对外发散所形成，言语在此抽离效用而让位于切身的感受，人物形象在与环境的融合当中提炼出外化情绪的氛围，这时候你知道美妙动人的事情正在你的身边发生，就像闭上眼睛享受低沉柔和的嗓音将身心浸泡，在陌生的暖流中安心地睡眠并可以为之深感留恋。如此看来导演倒也不必如此执着的显示叙事的层次，增添情节动因的编排反而让整体观感显得繁复，无需借助言语的段落有多美妙相比之下映照现实的段落就有多么绵软。
清澈如水、温暖如光，犹如一盒私密的成长录像带，记录了少年时代和妈妈、手足、初恋相处过的时光，偶尔苦涩、但甘甜更多。80年代的巴黎，成为了个体一点一滴成长过程的背景板，悄无声息地见证着所有人的喜怒哀乐。反过来说，这对于当时生活在那里的人们来说，又是一件何等荣幸的事情。50岁的夏洛特·甘斯布真是太美好、太优雅、太漂亮了，甚至比年轻时候更让人沉迷心醉。
不好说氛围营造的手法是否算讨巧，但情境来源于种种故事型，细节恰恰在被拉远的时间里模糊了。喜欢Talulah临近结尾睡醒后流泪那段，它证明了美好的回忆同样也是疼痛的回忆。
Pascale Ogier hante ce film…
寒夜里的慰藉，迷茫时的拥抱，无需过多的动机思虑，无需未来的远景构思。
法国电影的剧本还处于肌无力的时代。还没有重量级导演出现
清澈如水、温暖如光，犹如一盒私密的成长录像带，记录了少年时代和妈妈、手足、初恋相处过的时光，偶尔苦涩、但甘甜更多。80年代的巴黎，成为了个体一点一滴成长过程的背景板，悄无声息地见证着所有人的喜怒哀乐。反过来说，这对于当时生活在那里的人们来说，又是一件何等荣幸的事情。50岁的夏洛特·甘斯布真是太美好、太优雅、太漂亮了，甚至比年轻时候更让人沉迷心醉。
法式经典，侯麦再现。细碎，敏感，怀旧，朦胧。家庭关系，少年心事。梦巴黎。Talulah 真可爱。儿子有点像《四百击》里的安托万。音乐很好，金色泡沫感。引用北岛的诗：那时我们有梦，关于文学，关于爱情，关于穿越世界的旅行。如今我们深夜饮酒，杯子碰在一起，都是梦碎的声音。Gerhard Richter《Reading》的画面。
’会有别人眼中的我们。那些碎片，我们曾以为瞥见的，我们的碎片，会由我们的梦来滋养。我们从来都不是相同的，每一次，我们都只是外来者，是夜旅人，是他们的想象，就像被留在房间里的旧镜子上，那些脆弱的阴影。‘
夏洛特真是风情万种，可却不敢说她是个好演员。坐在同一间放映厅看这间放映厅出现在电影里，算是个体验。
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