兩個原是異性戀的女子，由開始的尷尬到互生好感，終於成為一對如膠似漆的愛侶......
中文片名：誰吻了傑西卡？
英文片名：Kissing Jessica Stein
導演：Charles
Herman-Wurmfeld
國別：美國
年份：2001
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「人際關係不是建立於慣性，每次都是重蹈覆徹，真是難以想像的單調與重覆，是在新事物前害羞，料想不到的經驗，不相信自己可以克服，只有那些隨時準備好，去接受任何新挑戰的人，即使不是最迷惑的，都可以使得這關係有生命。」
--
"Fear Of The Inexplicable" by: Rainer Maria
Rilke
本年度金馬國際影展的參展片之一《誰吻了傑西卡？》(Kissing Jessica
Stein)，沒有在院線上映過就悄悄地發片了。這部片子在強片如林的十一月發行，可能會顯得毫不起眼，其實此片的可看性遠超過許多大堆頭的院線片，是一部相當清新迷人又有趣的浪漫小品。
傑西卡是28歲的單身女郎，在某家報社擔任改稿員，她生長在傳統的猶太家庭，母親總是擔憂著她的婚姻大事。傑西卡是一個完美主義者，她希望能找到完美無缺的伴侶，在經過了一連串淒慘的相親之後，漸漸地對未來感到絕望.....海倫是某間畫廊的董事，行事相當果決有自信，年輕貌美的她同時擁有三個性伴侶。可是她從未嚐試過女同志性愛，於是她在報紙上刊登了女性徵求女友的廣告......
「人際關係不是建立於慣性....」，這則徵友廣告吸引了傑西卡的目光，因為詩人里爾克(DVD中翻譯成瑞格)是她最喜愛的作家。於是傑西卡與海倫相約見面，兩個原是異性戀的女子，由開始的尷尬到互生好感，終於成為一對如膠似漆的愛侶.....可是，傑西卡將如何面對她的家人呢？這對愛侶的戀情能夠繼續維持下去嗎？
這部浪漫迷人的女同志電影，處理得相當生動有趣，被稱作是女同志的《安妮霍爾》。片中有許多非常好玩的片段，就不一一細說，還是請各位自行去欣賞。
此片的兩位女主角，飾演傑西卡的Jennifer
Westfeldt，還有飾演海倫的Heather
Juergensen，她們同時也是這部片的編劇，所編寫的對白非常自然且生活化，真是一對才貌兩全的奇女子。另外，Jennifer
Westfeldt的面貌與氣質，都跟海倫杭特非常神似，尤其是說話的語調真是像極了。
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精彩劇照欣賞......
(圖片來源：http://berrysmediahut.com/kjs/)
女孩子追女孩子，也是需要一點詭計的........
假裝伸懶腰再輕擁香肩，男人經常用這一招，女人也可適用.......
一個女人很"Sexy"，兩個女人就是"Double Sexy".......
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國外許多影迷在問片中的那首詩，經過查詢是里爾克的作品，特列出全文如下.......
Fear
Of The Inexplicable
by: Rainer Maria Rilke
But fear of the
inexplicable
has not alone impoverished the existence of the
individual;
the relationship between one human being and another
has also
been cramped by it,
as though it had been lifted out
of the riverbed of
endless possibilities
and set down in a fallow spot on the bank,
to which
nothing happens.
For it is not inertia alone
that is responsible for human
relationships
repeating themselves from case to case,
indescribably
monotonous and unrenewed:
it is shyness before any sort of
new,
unforeseeable experience with which
one does not think oneself able
to cope.
But only someone who is ready for everything,
who excludes
nothing, not even the most enigmatical,
will live the relation to another as
something alive
and will himself draw exhaustively from his own
existence.
For if we think of this existence of
the individual as a larger
or smaller room,
it appears evident that most people
learn to know only a
corner of their room,
a place by the window,
a strip of floor on which
they walk up and down.
Thus they have a certain security.
And yet that
dangerous insecurity is so much more human
which drives the prisoners in
Poe's stories
to feel out the shapes of their horrible dungeons
and not be
strangers to the unspeakable terror of their abode.
We, however, are not
prisoners.
No traps or snares are set about us,
and there is nothing which
should intimidate or worry us.
We are set down in life as in the element to
which we best correspond,
and over and above this we have through thousands
of years
of accommodation become so like this life,
that when we hold
still we are,
through a happy mimicry,
scarcely to be distinguished from
all that surrounds us.
We have no reason to mistrust our world,
for it is
not against us. Has it terrors,
they are our terrors; has it abysses, those
abuses belong to us;
are dangers at hand, we must try to love them.
And if
only we arrange our life according to that principle
which counsels us that
we must always hold to the difficult,
then that which now still seems to us
the most alien
will become what we most trust and find most faithful.
How
should we be able to forget those ancient myths
about dragons that at the
last moment turn into princesses;
perhaps all the dragons of our lives are
princesses
who are only waiting to see us once beautiful and
brave.
Perhaps everything terrible is in its deepest
being something
helpless that wants help from us.
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