After watching too many Hollywood sci-fi blockbusters and animated films this year, Dearest, by Hong Kong director Peter Chan, is just what I needed: a warm, touching movie that’s free of any fuss.

今年，看過了太多好萊塢科幻大片和動畫電影，香港導(dǎo)演陳可辛指導(dǎo)的電影《親愛的》才正是我想看的：溫暖、感人，沒有絲毫矯揉造作。

In Dearest, Tian Wenjun (Huang Bo) and Lu Xiaojuan (Hao Lei) is a divorced couple who pretty much have moved on with their lives. That is until the day their 3-year-old son goes missing. You can guess most of what happens for the next hour: There’s panic and tears, visits to the police station and the divorcees turning to each other again to find their son.

《親愛的》講述了一對離異的夫妻——田文軍(黃渤 飾)和魯曉娟(郝蕾 飾)，就在他們在分道揚(yáng)鑣的路上越走越遠(yuǎn)時，他們3歲的兒子失蹤了。接下來的故事你也許已經(jīng)猜到：恐懼和淚水接踵而至，一次次的來到公安局，而這對離婚的夫婦為了尋子再次走到了一起。

Chan breaks away from convention by dividing the film into two parts. In the second half, audiences are taken directly to two years later, when Tian receives a tip suggesting his son has been spotted in Anhui (13 hours away by train). The film then follows how Tian and his ex-wife rationalize the decision to steal a child they believe to be theirs back from its new mother, Li Hongqin (Zhao Wei).

但是，陳可辛并沒有落入俗套，而是將影片一分為二，后半程的故事直接從兩年后開始講起。田文軍得到一條線索，說有人在距離他們家13小時車程的安徽縣城看見了他的兒子。影片接下來則圍繞田文軍和前妻如何相互勸服彼此，將自己的兒子從她的新母親李紅琴(趙薇 飾)手中“偷”走而展開。

That’s where the movie really start to get interesting, and to tug at your heartstrings with its based-on-a-true-story premise. It’s quite a daring move for Chan to withhold the film’s strongest performer, Zhao, until the midway point.

此時，電影才開始變得真正有趣起來，而根據(jù)真實故事改編的動人之處也逐漸顯現(xiàn)。將電影中實力最強(qiáng)的演員趙薇安排在影片一半處才出現(xiàn)，可謂陳可辛頗為大膽之舉。

Whereas the other cast members deliver great but predictable performances, Zhao brings contradictions and intrigue to her character. It’s more than impressive to see how she’s able to feed each new crying scene with slightly different emotion. Nothing is too weepy or melodramatic in her performance here.

雖然其他演員都發(fā)揮不錯，但表演都在預(yù)料之中，而趙薇卻將其人物的矛盾與糾結(jié)表現(xiàn)的淋漓盡致。每一場哭戲中她都演出了情緒的微妙不同，讓人印象頗深。而她的表演中卻絲毫沒有矯揉造作或是過于浮夸之感。

Zhao’s performance even makes up for the fact that the screenplay by Zhang Ji, who also wrote Chan’s American Dreams in China, is a little unfocused. Maybe too eager to stick to the real-life story, Zhang introduces so many characters that each ends up not being emotionally complex enough.

趙薇的演技甚至彌補(bǔ)了編劇張冀(也曾擔(dān)任《中國合伙人》的編劇)在劇本方面的重點不夠突出的缺陷。也許是太過于貼近現(xiàn)實，張冀在影片中安排了太多人物，卻最終使得每一個在情感復(fù)雜性上都略顯不足。

Dearest may not be a sophisticated film, but it manages to hit audiences twice — first in the heart and later in the head. It shines a light on the ugly problem of child abduction in society, and raises intriguing questions about what authorities should do to handle this unusual situation.

《親愛的》也許并不是一部復(fù)雜的影片，但是它卻兩次打動了觀眾，先是打動了觀眾的心，接著又引起了觀眾的思考。影片不僅折射出拐賣兒童的社會問題，也同時引發(fā)了在這種特殊情形下政府應(yīng)該何為這樣發(fā)人深省的問題。