女生规则

#女生规则# No means no#有些许些许剧透，但不就是这事儿嘛在删了18分钟后2013终于时隔7年把它搬到了国内屏幕上话题其实还是比较老套的话题套路也多少差不多可是架不住它一些台词是真的好，有力量而且这样的事件搬上法庭这个场地之后可以将矛盾激化从而刺激观感强势群体vs 弱势群体强势群体里面不仅仅有男性还有加害的女性甚至还有来自亲人的不理解的伤害可是，有什么错呢？

“No, means no”无论她是谁，都有说‘不’的权利包括，妻子对，律师说到妻子的时候眼神灰败了一下这里就要说到电影不足之处不知道是否删减片段有关于律师的部分我觉得律师部分是有缺失的而且缺的部分非常的重要为什么他会关注这几个女孩为什么他可以在这样的“偏见系统”之外为什么他的妻子卧病在床为什么他的生活一直没有色彩为什么他精神不稳定这些都是非常重要的要素没有讲清楚如果律师部分讲好了应该可以给本片大大加分有些意识不是突然就有的它们是建立在血和泪之上而不应该只有这一次的女孩事件7分左右吧

印度电影，大致讲的就是三个年轻的女生，接受了几个刚认识的男生的邀请，去酒店吃饭、喝酒。

这些男生觉得有机可乘，想做龌龊的事，结果遭到反抗，一个男生被打伤眼睛。

被打伤的男人家里有钱有势，就开始报复，甚至聘请无良律师颠倒黑白，将打伤他的女生告上法庭，想让她坐牢很多年。

女生们扛住了种种压力，在一个老律师的帮助下，最后反败为胜。

这是一部反映印度女性低下的社会地位的电影，当女生受到有钱有势的男人的侵犯时，警察选择和坏人同流合污（哪怕那个警察自己也是女性），家人也劝她们息事宁人，社会舆论也认为“谁叫她们接受了男人的邀请，被侵犯也是活该”。

影片很不错，揭露了印度社会的黑暗面，不过好在是good end，结局令人舒适！

美中不足的就是，影片长达2小时，前一半基本都在铺垫，可能会比较乏味。

不过后半部分，是法庭的辩论环节，正义的老律师vs无良油腻的坏律师，情节超级痛快，节奏感满满！

侵犯女性的男人必须受到应有的惩罚，但是，女性也要注意好保护自己。

保持警惕，预防受到伤害，更胜过被侵犯后再去制裁对方。

看完电影，深刻感知到了印度女性面临的困境。

整部电影聚焦于打破“女生规则”，而所谓的“女生规则”其实就是对女性的歧视和偏见！

影片中4条“女生规则”穿插在法庭和犯罪现场之间，原本是受到侵犯的女生们因为这些所谓的“女生规则”反过来被男生们指控“故意伤害”、“勾引男生”。

更有甚者，男方及律师、警察、证人，甚至女生自己的家人都认为被侵犯的女生是“自讨苦吃”？！

只有律师迪帕克为这些女孩们辩论，势要打破“女生规则”！

这场震撼人心的法庭辩论，是为女孩们正名，是对受害者有罪论的最好抨击！

它撕破了印度社会传统观念的阴暗面，铿锵有力的台词“我们应该拯救我们的男生，而非女孩！

”直击人心。

印度一直被看不起，大概就是和中东兄弟肩并肩的地方，但纵使是接受过高等教育的男人也会对女人投向封建主义的凝视。

能对一个女性尊重，在她说no的时候接受并认同，这真的是难求的品质了。

我很喜欢律师最后的策略，纵使我和别人上过床，纵使我和你一起开房，纵使我是你的妻子，纵使我是一个妓女，当我说no的时候它就是应该制止。

这种尊重真的太难得了。

整个片子很压抑，但我倒是哭不出来，看过太多生活中这样的现实了，已经失望了。

但我觉得对于律师的描绘有点奇怪，他到底有啥病，和老婆啥情况没讲清楚，其实甚至可以不讲哎，因为对主线贡献一般。

以及印度英语真的很难懂，全程要看字幕。。。

《女生规则》印度是一个女性社会地位普遍低下的国家，德里也被戏称为强奸之都，然而就是在这样一个性别歧视相当严重的国家，却诞生了大量极为优秀的女权作品，“不管那个女孩是熟人，朋友，女朋友，妓女，甚至是你自己的妻子，不就是不，当别人说不的时候，你就必须停止”这是最简单又最深刻的对于女性，对于人的尊重！

影片通过一个案件深刻剖析印度社会对于女性的传统认知问题，在法庭上的思想碰撞和手术刀式的分析令人动容，并总结出四点所谓的女生规则：规则一：女孩绝不能单独跟男孩去任何地方，如果她那样做了，人们就会假定，既然她自愿去那了，他们就有执照可以不恰当的触碰她。

规则二：女孩在跟男生说话时，不能微笑，不能触碰对方，因为他会把那当作是暗示，她的微笑会被认为是“是”，而且自然的人类行为对他来说会视她为无个性的。

规则三：时钟决定了一个人的性格，当女孩晚上独自走在路上，汽车会慢下来，车窗会降下来，可白天时没人想过这个“好主意”规则四：女孩子永远不能和男生一起喝酒，因为如果她喝酒了，那男生就会认为，她都能和我一起喝酒了，那她不会介意和我睡的。

对女孩来说，喝酒意味着有机可乘。

大B的表现是老而弥辣，演技随着年龄飙升，抽丝剥茧式的剧情推进最终迎来激昂又令人感伤的高潮，剧情张力和爆发力十足，很多细节都有很大的象征意义，一部富于启发教育转变思想又可看性十足颠覆认知的印度佳片，小舞舞五星震撼推荐！

印度这个国家真的让女性很绝望，片中各种求助无门，全社会的人都在劝受害者算了，有的甚至还认为是受害者的错，不是每个受害的女性都能那么幸运，拯救女性首先从破除直男癌开始，女性说不就是真的拒绝，所谓的女生安全守则只是变相的看低女性，人生而平等，希望能将这部影片在印度国内以及其他女性地位低的国家带去一些好的影响，警醒他们！

Recently I have unfailingly surprised myself with the fact that I have so far watched 55 movies that has “India” as a tag. I know, though, that it is nothing to be surprised about when dwarfing this figure against either the sheer volume of Bollywood productivity, or the subsequent reminder that has already been seven years since the rabbit hole of this incredible country has cracked open for me.This figure has nonetheless put me into a justifiable position to summarize my stereotypes on Indian movies. And it does not take long to come up with these words:cheesy, “masala”, dramatic (and sometimes naively or even stupidly so), loudly, and- of course- sing and dance, sing and dance, sing and dance…These stereotypes sometimes feel comforting to foreigners like me, because stereotypical movies are easy to follow even if you don’t understand the language. You can also start guessing the plots early on, and the movies would end up with no substantial difference from your guessing. Being easy and predictable, it also saves brainpower so that you don’t have to think much. In other words, it is a cheap and really effortless way of relaxation. An entertainment.Insomuch as it is entertaining, it can be confusing and even frustrating. In all the Bollywood movies I’ve watched so far (perhaps with the sole exception of Slumdog Millionaire which is actually from Hollywood), India is always portrayed as spotlessly clean, without dust and no single trace of pollution. Metros or local trains are never packed. Traffic jam never a grueling pain to be confronted (fair enough: why waste the precious screen time on the seemingly endless jams?!) Suffocating crowdedness and the lack of space? All these can be whitewashed by an idyllic hue with some simple maneuvering of colors and lights made possible by advanced filming technologies…If even the surface of life is fabricated and brushed into such a fancy and romantic fairy-tale never-land, what portion of reality would you expect the movies to touch upon in terms of real contents?That is where Pink, the latest Indian movie I have watched, differs. It is a precious anomaly on the Indian screens after such a long while that was brave enough to pick up and challenge against a grave social reality. It embodies a rare and respectable effort to actually make people think. And think hard, as the message delivered are way less pinky than the title would suggest.The movie did prove itself to be different since the very beginning. No typical elements mentioned above were present. What caught the eyes was instead an intenseness that flows through the swift volatility of scenes around the girls and the boys despite the normality of neighborhood. The high-pitched, playful and sexy female singing common to most Bollywood pieces was also replaced by a low-pitch gloomy voice that preys and haunts and lingers, to create and corroborate a feeling of tragic vulnerability.But I also feel that the mood of the first half (before intermission) was a bit overdone that made it comparatively mediocre and even somewhat bizarre. For example, perhaps to showcase the character of a lawyer, Deepak Sehgal has worn a stern face ever since his first appearance- which, immersed in and intermingled with the creepy and nervous background music, disseminates an uneasy feeling as if Big B[rother] is watching you. This sternness was tendered only by his visits to his hospitalized wife.*Then, when it comes to the second half, the lawyer had and charmingly held the whole stage. Yet what enriches the movie from a one-man show into the current version of depth and audacity is that other characters played their part with equal strength and excellence. Especially the lawyer from the opposite side Prashantji, who cunningly tries to underpin the three girls as sex workers by highlighting the monetary issues. Indicating the girls as such also adds another delicate yet thought-provoking dimension to the story, on which the current Indian society is perhaps yet to grow adapted so as to reflect frankly and open-mindedly. At the very least, concerns on this dimension may well be the reason why they did not resort to the police in the first place. (The police do not seem to be a trustworthy venue of justice whatsoever.)I particularly like the last two rounds of questioning which, in my opinion, have been the climax of the entire movie. Till then, my initial boredom and cluelessness has evaporated entirely. And although I still wasn’t able to capture every detail because of the language barrier, the broader message got me completely (also thanks to the timely interpretation of my friend). Through the intense flurry of gestures, tears and expressions of the girl Falak under the increasingly overwhelming pressure from Prashantji, I had no problem sympathizing with her deep frustration and depression. Similarly, when the boy Rajveer was cornered by Deepakji’s turn, I cannot agree more with the final message: No means NO. Whether it comes from a girl, a girlfriend, a random person or a sex worker.Such a simple message it is. Such a helpless situation that the country has been so ignorant about it, that a simple message like this needs to be delivered in as a serious and sophisticated manner as possible in order to be heard. And such a brilliant initiative the movie is taking, in conveying it in this well-elaborated and well-played story.For those who question why the movie did not fix the character of Deepak Sehgal as a female lawyer, I was nevertheless unable to get the point. Pardon my limited knowledge about the Indian movie industry, but I failed to nominate in my mind a single actress who is as influential as the Bachchan and can thus deliver the message in an equally eloquent, cogent and powerful manner. More importantly, the charge is missing the point. It is too rigid an interpretation of feminism, women empowerment or whatever you call it. Compared with the gender of the messenger, the message itself matters much more. If anything, Big B’s playing such a decisive role in the movie is the best demonstration of “He for She” that I can think of. In the end, it is less about reversing the dominance of men with that of women. It is about creating a widespread and much-needed consensus, among men and women alike, that women are to be respected rather than abused, whose free wills are to be honored rather than violated.If one is really picky about the movie, you can say that it is still somewhat ideal. Poor King’s College whose name was borrowed as a negative illustration that higher or more degrees does not necessarily prove one’s being educated at an expected level. However, at least in this movie, schooling abroad at prestigious universities does seem to indicate a minimum of civility, which is why the case was lucky enough to be rested in the court. India’s harsh reality is by no means endowed with this luxurious luck. In the more common patterns frequency exposed in the media, sexual harassment, intimidation, molesting or other abusive cases were more likely to be succumbed to macabre male violence, sometimes with deadly consequences, before the court ever got the chance to be involved. Nor did the movie inquired deeper into the family background of the boys, or how their rich yet illiterate or poorly-educated mothers and “successful” yet similarly minded fathers have doted them into the irresponsive and misbehaving persons they have now become. Accordingly, it might be the case that the breadth and depth of the “mental bomb” detonated by this movie may be restricted by its very set-up.Having said so, those minor limitations would not prevent the radiance of the movie from shining at all. Indeed, instead of routinely embracing the more revealing and tantalizingly sexual Bollywood music videos featured by excessive showoffs and consumptions of breasts and hips, it is movies like Pink, with brain and compassionate heart, which should be encouraged, warmly received and solemnly contemplated.Finally, an outcry to Chinese filmmakers (or rather the regulators for that matter): In Korea, movies like So-won or Memories of Murder have been the brave bullets that bite directly the brutal scars of the society. Japanese movies and TV series also have the reputation of being closely connected to reality (接地气). Now even Indian screens are catching up with Pink- how or indeed when can we anticipate a change from your side?(I later on learned from IMDB plot that Deepak Seghal suffers from bipolar disorder. If that is the case, then the big-brother-watching-you type of face does make sense. Still, background information in the first half could have been unfolded in a more succinct and elegant way.)

女孩安全手册 规则一：一个女孩不应该单独和一个男孩去任何地方，不能去度假村，当然也不能去用厕所，因为如果她那样做的话，人们就会假定，既然她都自愿去那里了，他们就有权利对她动手动脚了。

规则二：当女孩和男孩说话时，她不能笑，也不能触碰他，不然的话，他会觉得这是一种暗示，她的微笑会被认为是默许，而这种人类的自然行为也会让他觉得她品行不端。

规则三：在我们的社会，很显然时间能决定一个人的性格，当女孩子晚上单独走在路上，车子会慢下来，车窗会被摇下来，但是白天的话，就没人想过这些伟大的想法。

规则四：女孩永远不能和男孩喝酒，因为她喝了，男孩就会想着：“如果她都愿意和我喝酒了，她就不会介意和我睡觉的”，对女孩来说，喝酒就意味着有机可乘。

可只针对女孩，不是男孩，这对男孩不适用，对男孩来说，就是对身体有点危害，所以情况和条件不一样。

经典台词 当有人未经你允许就触摸你时，那感觉真的很恶心。

可是如果被人强行触摸的话，谁不会做出反应呢？

穿牛仔裤、T恤，衬衫等等…女孩就不能那样，虽然那样做不会伤害她们，但对男生来说就是深深的威胁，可怜的男孩子看到她们也这样做，就受刺激了，她们没做错什么，可是可怜的男孩子最终还是犯错了，直到现在，我们一直都在朝着错误的方向发展，我们应该拯救的是男孩，而不是女孩。

因为如果我们拯救了我们的男孩，那么我们的女孩也就安全了。

城市里的女孩不该独自生活，不该独自居住，男孩可以，女孩就不行，独立的女孩会让男孩感到困惑，女孩在谈话时就不该微笑，事实上，即使她们在说一个好消息，她们也必须板着脸说话，她们不能用手机，不能受教育，她们要早点结婚等等… 她说，那些女孩没有拿钱还承认了，只是为了结束争论。

即使是所谓的“现代女孩”，也还只是女孩而已，当她们去和男孩吃饭喝酒，她们只是晚上出去一下，她们不知道她们就会被贴上“随便”的标签，但是即使是像他那样穿着得体并受过高等教育的男孩子，还是会利用封建思想，穿什么，喝不喝酒，这些决定了她们是不是随便的，那些不遵守这些准则的女孩就是可以被侵犯的。

“不”不只是个单词，还是个完整的句子，这不需要进一步的解释，“不”就是“不”，我的当事人说了“不”，法官大人，这些男孩必须意识到，“不”的意思就是“不”，不管这些女孩是熟人，朋友，女朋友，还是性工作者，甚至是你自己的妻子，“不”的意思就是“不”，当别人说了这个字，你就必须要停止。

最后的诗开启自我探寻的旅途吧，你为什么抑郁？

开始跑起来吧！

就连时间也在搜寻你的存在，对服装的限制，就别再去想，只想它视作衣服，打破所有的限制，把这些都当做你的武器，当做你的武器。

开启自我探寻的旅途吧，你为什么抑郁？

开始跑起来吧！

就连时间也在搜寻你的存在，即使你品行优秀，你为什么还是处于这种境地？

那些罪人是没有权利评判你的，烧毁这些社会准则吧，那是残酷的陷阱。

你不是微弱的烛焰，你是愤怒的火光，你是愤怒的火光。

开启自我探寻的旅途吧，你为什么抑郁？

开始跑起来吧！

就连时间也在搜寻你的存在，把你的围巾变成旗帜，挥舞它，开始革命吧！

天空也会战栗，如果你的围巾掉落了，它会引起地震，一次地震。

开启自我探寻的旅途吧，你为什么抑郁？

开始跑起来吧！

就连时间也在搜寻你的存在，就连时间也在搜寻你的存在。

《女生规则》男性偏见女性，带有偏见和条条框框要求女孩子们，不太乐意不帮助女孩子，草草敷衍了事。

他们总觉得是女孩子的问题，不应该穿的花枝招展…传统腐朽文化造就这些女孩，认为他们就该这样!他们认为女孩们的行为，影响工作…给企业形象带来负面 哪怕是假新闻，合成的…女孩被转走强暴，被老人看见已经别无选择了，我们离开这里吧投诉的是有后台的小子，性骚扰邻居的眼光…被抓走了，结果不在警局，等不来。

强奸人没被抓，受害人却被抓了被诬陷妓女谋杀未遂邻居想帮她们 ，建议:紧急保释。

我猜到了是律师。

还是知名律师女孩和塞加尔先生说，没律师愿意接，我们都有正经工作的，女孩子们是想强调着什么或者证明这什么这个律师身体也不舒服，生病着，妻子也是，他觉得自己不可能接这个案子。

他想了一晚上觉得接手这个案子。

法庭上却被起诉污蔑她性交易，……一只蟑螂报复性诉讼律师的妻子最后可能会成为软肋法庭上证人服务员“强调打扮”“偏见”他们所有事情都在说谎律师老婆想要回家这样的话就可能需要他居家照顾。

现实是，东北部的女孩更容易被骚扰你是想说好女孩都应该有一本好女孩手册，既然女孩自愿走入房间，男人好像就可以随意碰她…女孩的微笑可能只是自然表露，男生也会觉得他举止轻浮可以别随便玩耍…印度社会对女孩有太多偏见了一起吃饭，微笑和正常。

这种情况下，他不让他走，碰她。

谁都会反抗，没有别的办法。

她说了不!!!他依然动手动脚…地点决定品格哈哈哈胜诉了，女孩的手抓住了男律师，可怜的是这样的情况，女性受害人还需要男性律师进行维护权利，我们这个社会还需要进步!!!!!

《女生规则》印度是一个女性社会地位普遍低下的国家，德里也被戏称为强奸之都，然而就是在这样一个性别歧视相当严重的国家，却诞生了大量极为优秀的女权作品，“不管那个女孩是熟人，朋友，女朋友，妓女，甚至是你自己的妻子，不就是不，当别人说不的时候，你就必须停止”这是最简单又最深刻的对于女性，对于人的尊重！