延續阿莫多瓦電影裡一貫的主題，《悄悄告訴她》仍是一部以探索女人為基本關懷的藝術創作。只是，不同於《鬥牛士》裡那位美豔嗜血的女人、《我的母親》裡那位到處奔波的母親，《悄悄告訴她》裡的女人，是一位躺著一動也不動的植物人--一位因車禍受傷而失去意識的女芭蕾舞舞者。影片中，一位深情的男護士班尼諾為照顧並追求自己的慾望客體／慾望，除每日細心照料打理女芭蕾者阿麗西亞的身體與健康，並不斷與她說話。長時間以來，斑尼諾持續有恆地面對沉默的女體，娓娓敘述自己每日所見所聞，彷彿［或希望］阿麗西亞能有所回應。以拉崗對女人的詮釋［即超越陽具作用之外的「她者」］為理論基礎，本文將這種單向、或幻想式的對話模式定調為普遍深植於吾人慾望養成與實踐過程中所不可或缺的基本模式。隱藏於本論述背後的基本理念為：力比多流動必須建立在二元對立的模式之上；為提供無名的能量一具象的生產與消費模式，吾人於是經常在幻想中創造一個「她」，其作用為生產並配置慾望，並在慾望養成與實踐的過程中，賦予慾望主體確切的定位；然而事實上，這個女人並不存在。誘引慾望養成與實踐中不可或缺的角色與擔任此角色可變換的人或物因此必須被清楚辨識區別。 為將阿莫多瓦的《悄悄告訴她》刻劃成自戀式的自我追尋，本文分四節循序說明。第一節藉鬥牛場景中鬥牛士的角色，說明此誘引位置不可或缺的重要性，並釐清此位置，基於魅惑原則，不具特定面目，也不必由特定人物擔任。第二節主要以心理分析理論為基礎，論理誘惑模式固然為生產與配置慾望的基本架構，其本質卻是一種欺人耳目的幻想。第三節探討慾望主體對無意識「她者」的嚮往，在影片中，則呈以小男人流連忘返於大女體環境的動人畫面。最後，援引梅茲的電影理論，本文重申慾望的流動必須架構在二元對立的誘惑幻覺之上，就像班尼諾必須靠阿麗西亞的身體建立他單向、幻想式的對話模式，吾人也必須靠電影裡不斷上演的愛情故事一圓吾人對愛情的追求與嚮往－此即本文對班尼諾死後，阿麗西亞仍在吾人的期待中與馬可繼續上演愛情故事所提出的詮釋。

In the film featuring a male nurse’s monologic interlocution with an unconscious ballerina, Almodóvar extends his persistent exploration into woman, a body that is there represented as both vulnerable and enigmatic. Following Lacan’s view to see woman as an absent entity which always lies beyond the regulation of phallus function, this paper reads the fantastic communication delineated in Almodóvar’s Talk to Her as a mechanism of desire configuration which is universally inherent in our acts of libido flow. Central to the idea of this argument is the belief that in order for the unnamable desire to be manifested in the process of desire realization, men tend to rig up a fantastic woman, whose function in the expediency of libido flow is to take on the role of a seducer or desire regulator, but in reality, the woman does not exist. The difference between the displaceable agent of the seducer and her indispensable role thus is emphatically clarified. To characterize Almodóvar’s Talk to Her as essentially a narcissistic quest to the self, this paper falls into four sections. First, in the section “The Missing Torero and the Lonely Bull,” the author deals with Almodóvar’s bullfighting scenes recurrently appearing in his films, demonstrating that the indispensable role of the bullfighter is essentially feminine and that due to its very phantasmagoric nature, the role can be variously played by substitutable players. In the section “The Delusion of Seduction,” a more theoretical exploration into the function of seduction based on psychoanalytical theory is undertaken. Then, in the section “The Shrinking Lover and Benigno’s Jouissance,” the author analyzes the relationship between the desiring subject and the desirable body of woman from the perspective of Lacan’s gender theory discussed in Encore, which in Almodóvar’s film is touchingly represented by a little man’s absorption by an alluring landscape simulating a woman’s naked body. Finally, in “Marco and Alicia, and the Cinema of Infinite Desire,” the author draws in Metz’s cinematic theory, reconfirming the self-reflexive libido flow she has discussed throughout this paper by associating Benigno’s desire for Alicia with the cinematic spectators’ desire for the endless development of Alicia’s love story, now with Marco, after Benigno’s death.