In 1995, the young Taiwanese woman writer Qiu Miaojin committed suicide in Paris’s Montmartre district, leaving behind the autobiographical novel LAST WORDS IN MONTMARTRE. Two decades later, the novel was published in English by the prestigious New York Review Books, bringing Qiu renown in Western literary circles and quickly prompting translations into other European languages. Qiu is considered the first openly lesbian novelist in the history of Chinese literature her debut novel, NOTES OF A CROCODILE, became a “Bible” for the Taiwanese lesbian community and an underground classic in Taiwan and Hong Kong, with an official edition finally published in 2012. DEATH IN MONTMARTRE travels through Taiwan, Paris, and New York to trace the life of this literary star who enjoyed fame only after her death, interviewing literary masters from Taiwan, France, and the U.S. while discussing LGBTQ culture and lesbian literature from a perspective of equality.
暴烈又溫柔至極的主角。陳耀成意圖除卻使用零碎的改編影片、友人與學者訪談，絕大部分都是邱妙津生平的戲劇化再現——戴著鰐魚頭套或是披著白紗的人在街頭，跨國界的逡巡與流亡在東京、巴黎、台北，燈光、舞台與凋落的殘花。但誠如Edwin Frank所說，「蒙馬特遺書」是「一本懾人的小說。是懺情録、遺言，是一本絶望之書；卻又是嚴謹的書寫，儼然狂亂急筆之下的精心結構」，生死之間的辯證、生之焦慮在邱妙津與更廣闊歷史的勾連中隱沒。
les不过26岁，因为他们活过26就觉得自己脏了。拍的很文艺，中间插入的音像很投入。
3.5 / 挺好的，中间穿插的对小说的戏剧化重现太出戏就不四舍五入了。虽然结尾还是上升到了政治正确很无语，但忘了从什么时候开始流泪，可能是从不同意《蒙马特遗书》作为死亡表演开始，虽然书还没有看到“把温柔留给别人”的部分但还是低头看了看自己的纹身，好巧。（一眼喜欢上了赖，和邱年轻里时的合照里的真的很美）
和陈耀成前作《蒙马特女书》很多素材相同。
女性受访者的表达都很好，男性受访者说话让人想呕，尤其是那位“高大哥”对于女友被邱以暴力对待而离开竟然说“ 她蛮脆弱的”我真的拳头梆硬梆硬的，还有男导演自以为是的艺术形式呈现实则把想象力和表达力匮乏暴露无疑，好好的个人传记又给我乱扯性别政治，你拍的是个人！个人！个人都没呈现好就我乱加社会的内容，现在呈现的看不出多少个人对社会活动的意义反而好像是大家在过誉，好适得其反的效果