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类型：剧情片 德国,法国 2010
主演：Natacha Régnier Bruno Todeschini Josse De Pauw Emile Berling 娜塔莎·雷尼埃 布鲁诺·托德契尼 若斯·德波夫 埃米尔·贝宁 依尔卡·泽特 玛伦·艾格特
导演：安格拉·夏娜莱克
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剧情简介 《奥利机场》是2010年的一部剧情片。由安格拉·夏娜莱克执导，Natacha Régnier、Bruno Todeschini、Josse De Pauw等联袂主演。奥利机场，又名Orly、Orly, Poem 1-4。Amidst the impersonal hubbub of Paris' Orly Airport, strangers meet, secrets are revealed, and sudden intimacies develop in this beautifully observed mosaic of lives in transit. Loosely-linked scenes in the hall of Paris’ Orly airport. A man and a woman, both French but living abroad, meet each other by chance. He has just decided to move back to Paris and she longs to return there. A mother and her almost adult son are going to the funeral of her ex-husband, his father. A young couple is embarking on its first big trip. And a woman reads a letter from the man she has recently left. They are all waiting for their flight. The departure hall is a place of transit. People are between the here and there, between the “not yet” and the “no more”. Schanelec places four couples amid the crowds of waiting passengers; the camera observes them, often from a distance. But their conversations can be heard; the ear is closer than the eye. Intimate islands of dialogue amid hectic activity. The tremendous background noise does them no harm until the music comes and infects the whole room. Cat Power sings “Remember Me”, reinforcing the atmosphere of longing, separation and transitoriness that already lingers in the air. Later, the off-screen monologue of a dying, loving man adds to it. “Love Will Tear Us Apart” – that’s what’s written at the beginning on a record cover. A farewell film.
综合评分：
DVD电影网评分6.0，算是一部中等的电影作品，感兴趣的朋友可以看看。
影迷点评：
瞎搞的小宇 说：3.5.在最后那首垂死信之前，一切都那么不导演风格，却又在稀疏的生活对谈细节中找到以往导演的影子。借用错乱感的剪辑和拼贴，也是侧面映射奥利机场的一面。最后突如其来的死亡，那封垂死信的阅读，宛如回到最熟悉的习惯里，看着机场空置状态，想到这里另一番样子。其实这个题材让我想起伊万·马科维奇的《中心》，他们拍摄思路都是一样的，只不过夏娜莱克的处理方式更加特别一些，至少舒缓中还有点寻找处理痕迹的趣味。后者则更男性系统解构空间和历史更多一些，会更加发散性解读。
brennteiskalt 说：机场这个典型的过渡性空间决定了夏娜莱克这部引人入胜之作的结构。所有的人来到机场，都是为了离开。旧的还没死去，新的还没到来，这种叠加态的人更显孤独。导演是一位站在我们中间的上帝，她聆听却不介入，摄影机从远处拉出长焦镜头，看着两个人在人群里彼此寻找和躲避着彼此的目光。一个人刚离开了爱情，另一个的爱情也大概陷入了泥淖，这是一段新关系的开始吗？夏娜莱克显然不会给出答案。
刘浪 说：太不像是一部典型的Schanelec电影，有着大量的日常动作与舒适对话。尽管她将几个情境伪装进了公共空间，大多时候也在透过长焦远眺，然而突破距离与介质限制的声音选择（电话/玻璃），让它实际上回归到一种坐在观众席观望演员带麦表演的舞台空间。而片中男旅客退到远处偷拍照片，再放大局部预览，几乎就是全片的等比例定格。
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