The 46th Hong Kong International Film Festival Main Catalogue by HKIFF

15- 31. 8. 2022

ONLINE SCREENING PLATFORM 網上放映平台 HKIFF46 ONLINE 內容僅限香港地區於第46屆香港國際電影節期間觀看。 All HKIFF46 ONLINE content is available for viewing only in Hong Kong during the HKIFF46 period. 電影節以混合模式舉行，可選擇戲院大銀幕或安坐家中欣賞精選環球佳作 HKIFF goes hybrid with both in-theatre and online screenings of worldwide titles 世界各地影人將以不同方式與影迷交流，座談會及映後談分別於戲院及網上平台進行 Screenings and audience-engagement events will be featured in both physical and online formats 影人網上談 MEET THE FILMMAKERS ONLINE 每個網上節目放映期長達72小時，期間可隨時觀看已購票的影片，安排觀影更具彈性 Great flexibility to arrange viewing schedule – each film or programme will be available for viewing for 72 hours * 影片開始播放後，須於24小時內觀看 Once the viewing starts, the purchased content can only be accessed within 24 hours 靈活安排觀影時間 FLEXIBLE SCHEDULE 實體放映 X 網上串流 HYBRID FILM FESTIVAL HKIFF46 ONLINE 詳情 Details http://online.hkiff.com.hk/

香港國際電影節協會鄭重鳴謝第��屆香港國際電影節的贊助及合作夥伴 We are proud to acknowledge and thank the Official Sponsors and Partners of the 46th Hong Kong International Film Festival 資助機構 Financially Supported by 同期活動 Concurrent Events 為香港影視娛樂博覽始創項目香港國際電影節 HKIFF is a Founding Event of 虛擬制作夥伴 Virtual Production Partners 資助 Supported by 節目夥伴 Festival Partners

霍璽律師 Angus FORSYTH AOTU DOC 凹凸镜支持機構 Supporting Organisations 公關公司 PR Partner 香港國際電影節協會法律顧問 Honorary Legal Adviser, Hong Kong International Film Festival Society 香港亞洲電影投資會法律顧問 Honorary Legal Adviser, Hong Kong - Asia Film Financing Forum 合作傳媒 Media Partners 合作夥伴 Festival Supporters

15 31.8.2022

GALA PRESENTATION 星光盛宴 9Galas 首映禮 17Cinephile Paradise 影迷嘉年華 FIREBIRD AWARDS 火鳥大獎 30Young Cinema Competition (Chinese Language) 新秀電影競賽（華語） 42Young Cinema Competition (World) 新秀電影競賽（世界） 52Documentary Competition 紀錄片競賽 62Short Film Competition 國際短片競賽 PAN-CHINESE CINEMA 華語電影 70Sandra Ng, Filmmaker in Focus 焦點影人吳君如 75Making Waves – Navigators of Hong Kong Cinema 光影浪潮香港電影新動力 78Chinese-language Restored Classics 華語修復經典 MASTERS & AUTEURS 大師與作者 85The Masters 大師級 97Auteurs 作者風 WORLD CINEMA 世界電影 113Global Vision 環球視野 139The Passion of Latin American Cinema 拉美風情 DOCUMENTARIES 紀錄片 146Reality Bites 真的假不了 151Filmmakers and Filmmaking 影人影事 KALEIDOSCOPE 五光十色 158Fantastic Beats 奇幻青春 166Animation Unlimited 超人氣動畫 174Midnight Heat 我愛午夜長 179Poetry in Motion 詩影像 186Restored Classics 修復經典 FOCUS 焦點 195Portraits of Women – A Tribute to Tanaka Kinuyo 柔韌之鏡田中絹代導演作品展 ACKNOWLEDGEMENTS & INDEXES 鳴謝及索引 214Acknowledgements 鳴謝 216World Sales & Print Sources 片源 218Index of Films 影片索引 220Index of Directors 導演索引 CONTENTS 目錄

影迷必備手機應用程式 The Must-have Mobile App 修復經典首映禮大師級兩小無懼河畔小時光後人類罪行甘給驢 3:15 HKIFF�� 查看放映場地地圖，了解最便捷的交通路 toCheckthelocationandthefastestrouteyournextscreeningvenue 一路無阻 Smoothvenueaccess! 即時掌握電影節最新資訊，分享映後觀感到個人社交平台 festivalGetthelatestupdatesofHKIFFS,shareyourexperiencewithyourfriends! 一CLICK即SHARE Sharethenews&tagyourfriends! yourDragyourwishlisttoGooglecalendar,createownscreeningschedule 建立「我的日程」，DIY 你的私人觀影時間表一場不漏 Easyscheduling! 精彩節目全年無休：香港國際電影節、電影節發燒友、Cine Fan夏日國際電影節CineApplicabletoalltheprogrammesofHKIFFS,includingHKIFF,FanandSummerIFF 全年通用 Availablethroughtheyear! 立即下載 Download Now HKIFFS

GALA PRESENTATION 星光盛宴 Galas 首映禮

Production

10 GALAS 首映禮開幕電影 2022 | Cantonese | DCP | Colour | 144min

Where the Wind Blows 風再起時 My last work, Port of Call, was heavy, but Where the Wind Blows is light, so light that it’s like a breeze whizzing by. I used to be a film critic and was criticised for “making films for critics”. I am also a screenwriter, and Christopher Doyle remarked that my eyes were only on the script when I was shooting. So this time I’ve made a film as a film buff, fulfilling a cinematic dream I had when I was young, watching all sorts of gangster films, biopics, even musicals. It is also a nostalgic journey back to Hong Kong once upon a time. I was totally mesmerised on set, feasting my eyes on the actors I love most. Hong Kong is a very small place. I think that even if I were to write an epic for her, it would turn out to be a murmuring chant in a minor key. I’ve summoned all my selfish motives into making this Hong Kong film, which is to me the good I hold dear in my heart, and I am sharing this with you. I hope you’d like it too.

[導演的話] 我上一部戲《踏血尋梅》是重的，《風再起時》很不一樣，是輕的，特別輕，真的就像一陣風吹過。曾經是影評人，我被批評「拍戲是拍給影評人看的」；我也是一個編劇，被杜可風批評我拍戲的時候眼睛只盯着劇本；這一次我，作為影迷，去拍一部電影，圓了自己年少時看的種種黑幫片、傳記片，甚至歌舞片的電影夢，亦懷香港那份如夢的舊，眼裏看着現場那些我最喜歡的演員，如痴如醉，我似是時而超越時間為我城同步滄桑老去，也似是回到孩提時期訴說那個簡單如卡通或童謠的小故事，香港只是一個小小的地方，我深信即使為她寫下史詩，也只會是一闋如小調般的詠唱。我第一次見梁朝偉的時候，他說很想看看我會怎樣拍一部「 Once Upon a Time in Hong Kong 」，用我再三細細觀察過那張像奇勒基寶的臉的郭富城，還有家父最喜愛的偶像許冠文，盡用私心去拍一部在自己心裏代表美好的香港電影，跟大家分享，希望大家也喜歡。 Philip YUNG was born in Guangdong Province in 1979. He has been involved in film and television production since 1998. His Port of Call (2015) won Best Screenplay at the Hong Kong Film Awards. Where the Wind Blows is his latest feature film. 翁子光 1979 年生於廣東，中學畢業後參加香港電影導演會編導訓練班。 98 年起參與電影及電視製作，擔當場記、副導、助理美術等職位，後轉當電影製片。憑《踏血尋梅》( 2015) 獲香港電影金像獎最佳編劇。《風再起時》是他的最新作品。 SELECTED FILMOGRAPHY 主要作品 2009 Glamorous Youth 明媚時光 2013 May We Chat 微交少女 2015 Port of Call 踏血尋梅 2022 Where the Wind Blows 風再起時

Director Philip Yung Producer Julia Chu, Peggy Lee, Patrick Tong, Kingman Cho Scriptwriter Philip Yung, Effy Sun Cinematographer Chin Ting-Chang Editor Kong Chi-leung, Zhang Yifan, Matthieu Laclau, Production Designer Bill Lui Music Ding Ke Sound Tu Duu-Chih, Wu Shu-Yao Cast Aaron Kwok, Tony Leung Chiu-wai, Du Juan, Patrick Tam, Michael Chow Golden Gate Movie Ltd. Sales Mei Ah Entertainment Group

World

Philip Yung

導演翁子光監製朱嘉懿、李錦文、唐慶枝、曹敬文編劇翁子光、孫霏攝影秦鼎昌剪接鄺志良、張一凡、馬修‧拉克勞美術雷楚雄音樂丁可音響杜篤之、吳書瑤演員郭富城、梁朝偉、杜鵑、譚耀文、周文健

Warriors of Future 明日戰記 Warriors of Future represents a dream fraught with challenges. From the outset, we had anticipated that we would need to overcome many challenges along the way, and the actual difficulty was indeed many times higher than expected. The process was arduous and long, but we finally managed to finish Warriors of Future. It’s a fact that science fiction is not a genre often seen in Asian cinema. I hope that Warriors of Future can pioneer new elements for Asian science fiction cinema. The characters in the film share the same resolve. They refuse to give up, they refuse to die, and they hold true to their vows to themselves and others. They all share the belief that they can overcome the so-called “impossible”. There’s a line of dialogue in the film that I’m particularly fond of: “We decide how this ends!” Ng Yuen-fai [導演的話] Yuen-fai

began working in visual effects in 1996. In 2001, he moved to Thailand and began working as visual effects supervisor on numerous films, advertisements and music videos. In 2004, he returned to Hong Kong and established his own production company to continue working in special effects. Warriors of Future is his directorial debut. 吳炫輝 1996 年開始從事電影視覺特效製作， 2001 年前往泰國，開始為多部電影、廣告和 MTV 擔任視覺特效導演。04 年回港，創辦電影製作公司，繼續從事視覺特效工作。先後為《投名狀》、《白銀帝國》、《畫皮》、《十月圍城》等電影擔任視覺特效指導。於《風雲 II 》中更同時擔任視覺特效導演及創作總監。《明日戰記》為其導演首作。 FILMOGRAPHY 作品年表 2022 Warriors of Future 明日戰記

《明日戰記》代表着一個充滿挑戰性的心願。從一開始，已經預計整個過程將會需要克服很多挑戰，而實際難度確實比預期高出好幾倍。雖然過程艱辛漫長，但最終都成功地完成了電影。事實上，科幻電影算是亞洲電影中少有的題材，希望藉着《明日戰記》，能為亞洲科幻電影開拓一些新的元素。就如電影裏的主角們──他們有同樣的初心，不放棄、打不死，要守着對別人及對自己的承諾，他們共同相信可以跨越所謂「不可能」的目標。電影裏有這一句對白我尤其喜歡，「結局係點，由我哋決定！」 NG

11 GALAS 首映禮開幕電影 2022 | Cantonese | DCP | Colour | 99min Director Ng Yuen-fai Producer Louis Koo, Tang Wai-but Scriptwriter Lau Ho-leung, Mak Tin-shu Cinematographer Ng Kai-ming Editor Wong Hoi, Kenny Luk Production Designer Alex Mok, Lam Wai-kin Music Chan Kwong-wing Sound Onecool Sound Studio Co., Ltd. Cast Louis Koo, Sean Lau, Carina Lau, Philip Keung Production Lok Tin Films Production Limited World Sales One Cool Pictures 導演吳炫輝監製古天樂、鄧維弼編劇劉浩良、麥天樞攝影伍啟銘剪接黃海、陸志灝美術莫少宗、林偉健音樂陳光榮音響 Onecool Sound Studio Co ., Ltd 演員古天樂、劉青雲、劉嘉玲、姜皓文

盧戴丹 1954 年生於比利時，曾修讀哲學，75 年和哥哥尚皮埃戴丹成立電影公司，製作他人及自己執導的紀錄片六十餘部。兩兄弟自 81 年起合作拍劇情長片，曾兩奪康城影展金棕櫚獎，並榮獲康城七十五周年特別大獎。

films

The way our script describes the relationship between Tori and Lokita’s bodies, the importance we have given to their games, their exchanges of belongings, the songs they sing together and the tender gestures they have for each other all convey how closely our camera and microphone focus on the details of their bodies, gestures, looks and words. They sketch out this friendship that allows them to resist the trials of their difficult condition as exiles and proves to be the refuge of a precious human dignity preserved in the midst of a society increasingly won over by indifference, if not by the cynicism of its own interests. Our dearest wish is that at the end of the film, the audience, who will have felt a deep empathy for these two young exiles and their unfailing friendship, will also feel a sense of revolt against the injustice that reigns in our societies. Jean-Pierre and Luc Dardenne [導演的話]

Our film tells the story of a friendship, a beautiful and intense friendship, not a betrayed friendship but an unfailing friendship. […]

films together, and

Jean-Pierre DARDENNE was born in Engis, Belgium in 1951. Together with his brother Luc, they founded the film production company Derives in 1975 and Les Films du Fleuve in 1994. Since 1981, they have codirected together, and have won the Cannes Palme d’Or twice.

Tori and Lokita Tori et Lokita 兩小無懼

此片講述的是一段美麗而深厚的友情，並非背信棄義，而是恪守不渝的友誼。我們想到以友情為核心主題後，羅琪塔與杜尼兩個主角才成形，變為有血有肉的人物，超越傳媒定型的移民形象，不只是一個個案、一種情況、一個主題或一個題材。這不代表他們的處境不重要，相反地，兩個少年在流亡、被剝削、受屈辱的處境，正正因為他們的友誼多了全新面向，而此片亦由此可為身在比利時及歐洲的流亡年輕人發聲，譴責暴力及不公平問題。劇本刻劃出杜尼與羅琪塔肢體之間的關係，着重他們的遊戲、交換私人物品、一同唱歌、互相照顧的小動作，緊貼鏡頭及咪高峰聚焦他們的身體、姿態、目光及言語，從而描繪出這份友誼──讓兩個流亡者得以對抗窘境的試煉，在漸變麻木不仁甚至自我利益掛帥的社會，保存了珍貴的人性尊嚴。我們誠盼觀眾看完此片後，會對兩個流亡小姐弟及其不渝的友誼寄予深深的同情，同時喚起一股意識，對抗社會普遍存在的不公義。 ©Christine-Plenus

Luc DARDENNE was born in Awirs, Belgium in 1954. Together with his brother Jean-Pierre, they founded the film production company Derives in 1975 and Les Films du Fleuve in 1994. Since 1981, they have co-directed have won the Cannes Palme d’Or twice.

尚皮埃戴丹 1951 年生於比利時，曾從事戲劇表演，75 年和弟弟盧戴丹成立電影公司，製作他人及自己執導的紀錄片六十餘部。兩兄弟自 81 年起合作拍劇情長片，曾兩奪康城影展金棕櫚獎，並榮獲康城七十五周年特別大獎。 SELECTED FILMOGRAPHY 主要作品 1996 The Promise 一諾千金 1999 Rosetta 露茜妲 2005 The Child 半熟爸爸 2011 The Kid with a Bike 單車男孩 2014 Two Days, One Night 公投飯票 2019 Young Ahmed 少年阿默©Christine-Plenus©Christine-Plenus

Within the framework of a plot that borrows from suspense and adventure films, the challenge facing us as directors was to film the mutual assistance and tenderness of this friendship between our two protagonists, a friendship that manifests itself and develops to the extreme, to the point of a possible self-sacrifice to save the other.

12 GALAS 首映禮閉幕電影 Belgium/France 比利時／法國 2022 | French | DCP | Colour | 88min Director Jean-Pierre Dardenne, Luc Dardenne Producer Jean-Pierre Dardenne, Luc Dardenne, Delphine Tomson, Denis Freyd Scriptwriter Jean-Pierre Dardenne, Luc Dardenne Cinematographer Benoit Dervaux Editor Marie-Hélène Dozo Production Designer Igor Gabriel Sound Jean-Pierre Duret, Valène Leroy Cast Pablo Schils, Joely Mbundu, Alban Ukaj, Tijmen Govaerts Production Les Films du Fleuve, ARCHIPEL 35, Savage Film World Sales Wild Bunch

The Passengers of the Night Les passagers de la nuit 巴黎夜旅人間

米高艾斯

本片主角伊莉莎白有一子念高中及一女念大學，而丈夫離她而去。當丈夫離去，伊莉莎白失去感情及生活的依靠。雖然她繼續住在公寓，但必須面對新的現實。她不至於生活拮据，但要獨立過活、打兩份工，包括一份晚間工作，並非易事。有些人本來一帆風順，碰壁後卻能跨出一步，重整自己，我常被這些人物吸引及感動，就像釋放自己，需要非凡力量、胸襟及獨立精神。你從不放大戲劇效果及衝突。我認為故事中發生了很多事：離婚、煥發的愛情、成長中的孩子，這些都是人生大事、重要改變。不過我也喜歡偶爾脫離正軌、繞道而行，因為生命亦由這些時刻組成。我的影片不是基於衝突，那並非我想說的故事。我的人物相愛、互助，看見彼此，我擁抱仁善及慈愛，放於影片角色之中。影片以1981年密特朗當選法國總統作開場。這是一代人的重要時刻。我那時六歲，隱約知道發生了大事。我父母沒有加入政黨，但政治實踐充滿在生活裏，並影響與其他人的關係。這影響了我以及伊莉莎白的政治取態。日常生活中，她對孩子的關愛，以及收留坦露娜的仁慈，不是展現愛和社會連繫的最佳實踐嗎？ Mikhaël HERS was born in Paris in 1975. He graduated from the Production Department at La Fémis, he then directed three acclaimed short films: Charell (2006),

13 GALAS 首映禮法國之夜 France 法國 2022 | French | DCP | Colour | 111min Director Mikhaël Hers Producer Pierre Guyard Scriptwriter Mikhaël Hers, Maud Ameline, Mariette Désert Cinematographer Sébastien Buchmann Editor Marion Monnier Production Designer Charlotte De Cadeville Music Anton Sanko Sound Vincent Vatoux Cast Charlotte Gainsbourg, Quito Rayon-Richter, Noée Abita, Emmanuelle Béart Production Nord-Ouest Films, ARTE France Cinéma World Sales mk2 Films

The central figure is Élisabeth, who has a son at high school and a daughter in college, and whose husband has just walked out on her. When her husband leaves her, Élisabeth loses her emotional and material anchor. While she continues living in their apartment for the duration of the movie, she confronts a new daily reality. She is not in dire straits but it’s a big deal having to get by on your own, working two jobs, including one at night. I have always been fascinated and moved by people who seemed to have a path laid out for them and then, when it runs into a wall, manage to sidestep and reinvent themselves. It feels as if that emancipation requires uncommon strength, generosity and independence. You never blow up the drama and conflict. To my mind, a lot happens in this story: a separation, a burgeoning love story, children coming of age... These are all major events in life, real dramatic shifts. It’s fair to say, however, that I enjoy breakaways and detours because life is also made up of those moments, and that my films are not conflict-based – those are not stories I feel the urge to tell… Here, my characters love each other, help each other, watch over each other. I own that benevolence and generosity that, to my eyes at least, is the stuff of movie heroes. Interview with Mikhaël Hers [導演訪問] Primrose Hill (07) and Montparnasse (09), which were selected at Cannes. His feature film, Amanda (18), won the Grand Prize at Tokyo IFF. 1975

年生於法國巴黎，畢業於法國國家視聽高等學院製作系。《夏爾》( 2006)、《櫻草花山》(07 ) 及《蒙帕納斯》(09) 三部短片皆入圍康城影展，而長片《我的巴黎舅舅》 (18 ) 則獲東京國際電影節大獎。 SELECTED FILMOGRAPHY 主要作品 2010 Memory Lane 記憶小巷 2015 This Summer Feeling 炎炎夏日情 2018 Amanda 我的巴黎舅舅 2022 The Passengers of the Night 巴黎夜旅人間 ©Emile Dubuisson_Nord-Ouest Films ©2021Nord-OuestFilms,ArteFranceCinema 合辦 Co presenters

Wesley HOI founded a company specialising in advertisements and film productions in Macau. In addition to participating in Hollywood productions The Forbidden Kingdom (08) and The Dark Knight (08), he was also the Macau production manager on Book of Love (16).

導演許業生、陳果、馮志強監製莊澄、鄧漢強編劇許業生、陳果、黃順休、凌偉駿、何肇康、馮志強攝影關本良、黃欣樂、陳家信、黃浩銘美術黃炳耀、蕭冠豪、陳七演員顏卓靈、林曉峰、蘇麗珊、任賢齊、吳海昕

Fruit Chan: We can’t change the advancement of technology. In this age of the Internet, men, women and children can find out what is happening outside on the web from the comfort of their home. I don’t dare opine whether this is good or bad, but it has become a way of life globally. It turns out that in the online world, there are truly many nosy bystanders. I think that this will become a terrifying development in the future...

Fung Chih-chiang: In the film, every character’s flat feels very spacious, because we wanted to create a sense of the unseen. Is there something hiding in the corner without them knowing? That would naturally amplify their fear. A gust of wind, a bit of light and wandering thoughts would remain in that space, fermenting in the mind... If I need to sum up this story in one sentence, it would be, “When you live in fear, you can see everyone more clearly”.

Director Wesley Hoi, Fruit Chan, Fung Chih-chiang Producer John Chong, Mathew Tang Scriptwriter Wesley Hoi, Fruit Chan, Stanley Wong, Ling Wai-chung, Ho Siu-hong, Fung Chih-chiang Cinematographer Kwan Pun-leung, Sunny Wong, Benny Chan Ka-shun, Ming Wong Production Designer Pater Wong, Delon Siu, Chet Chan Cast Cherry Ngan, Jerry Lamb, Cecilia So, Richie Jen, Sofiee Ng Production Movie Addict Productions Limited Sales Media Asia Film

馮志強曾擔任多部電影編劇，憑《美人魚》(16 )獲提名香港電影金像獎最佳編劇。並憑導演首作《懸紅》( 12 ) 獲提名香港電影金像獎最佳新晉導演。

FUNG Chih-chiang is a veteran screenwriter, nominated for Best Screenplay at the Hong Kong Film Awards for Mermaid. He was also nominated for Best New Director at the Hong Kong Film Awards for his directorial debut, The Bounty (12).

[導演的話] 許業生：關於恐懼，無形的一定比有形的可怕……憑空想像出來的東西，可以變成一個很實在的鬼魅，本身鬼魂是否存在不重要，重點是你如何去想這件事。陳果：大家都改變不了科技進步，網絡世代，男女老幼安坐家中就可以透過上網知道外面發生什麼事，我不敢說這孰好孰壞，但這已經變成一個世界性的生活方式。原來在網絡世界，真的有很多花生友觀眾。我覺得發展到將來，這將會是一件可怕的事……雖然〈死場〉只有三十分鐘，但大家都希望做到有驚嚇、有恐怖、有感情、有人不像人鬼不像鬼的劇情，令觀眾以為是鬼片實際又不是，這樣便圓滿。馮志強：電影中每位演員的屋都有很大空間感，因為這樣才有一種看不透的感覺。是否有些東西隱藏在某角落而你不知道？恐懼感自然加倍放大，一陣風、一些光、一些想法，都會伴隨着那個空間，繼而在腦內發酵…… 如果要用一句話去歸納這個故事，就是「活於恐懼時，更能看清每一個人。」 Fruit CHAN directed Made in Hong Kong (96), using leftover film stock and a limited budget, and won Golden Horse Awards for Best Director and Original Screenplay. Chan’s “Handover Trilogy” and “Prostitution Trilogy” have also won numerous accolades abroad. 陳果十歲隨父母移居香港。1996 年利用電影公司剩餘的菲林，以五十萬港幣及五個工作人員拍成《香港製造》並獲金馬獎最佳導演及劇本。作品關注香港，代表作包括「九七三部曲」、「妓女三部曲」等，多次奪得海內外多個獎項。

Tales from the Occult 失衡凶間 Wesley Hoi: The invisible is definitely more fearsome than the tangible... Things imagined out of thin air can become a very real ghost. It doesn’t matter whether the ghost itself exists or not; the key is how you think about it.

World

14 GALAS 首映禮隆重首映 2022 | Cantonese | DCP | Colour | 111min

許業生於澳門創辦公司進行廣告製作、電影製片。早年曾參與《功夫之王》( 08)和《蝙蝠俠—黑夜之神》( 08)等荷里活製作，也曾為《北京遇上西雅圖之不二情書》( 16)擔當澳門製片經理。近年積極參與劇本創作工作。 SELECTED FILMOGRAPHY 主要作品 1999 Little Cheung 細路祥 2001 Hollywood Hong Kong 香港有個荷里活 2018 Three Husbands 三夫 SELECTED FILMOGRAPHY 主要作品 2012 The Bounty 懸紅 2017 Concerto of the Bully 大樂師‧為愛配樂 2019 A Witness out of the Blue 犯罪現場 FILMOGRAPHY 作品年表 2022 Tales from the Occult (co dir ) 失衡凶間（合導）

To My Nineteen-Year-Old Self 給十九歲的我 Since 2011, I’ve been following a group of school children born in the new millennium. I watched them grow from pre-teens to adolescence, witnessed their laughter, pain, anger and dilemmas during these crucial formative years of their lives. As I filmed, I could understand their sorrow and tribulations more and more. Looking back, it was a journey of self-discovery for me too. Without realising, we stepped into the most turbulent decade in the history of Hong Kong since its return to China. These youngsters faced almost non-stop social unrest everyday: the “Anti-National Education Movement”, the “Occupy Central” confrontations, and the many other upheavals that began to escalate in the year 2019. Have these upheavals left a permanent impact on their lives? During this troubled time, what have their parents, teachers and peers done to help or affect their growth? I was amazed and impressed by the resilience these teenagers showed in the presence of political clashes and social unrest. Life was tough, but these youngsters moved on as usual in pursuit of their dreams. All they longed for, or needed, was the love, understanding and support of the people around them. […] In this documentary, I tried to analyse the transformation of the young people of Hong Kong, with the transformation of our society in the past ten rocky years as a backdrop. But in the end, instead of more answers, I only found more Director at the Hong Kong Film Awards for An Autumn’s Tale (87) and City of Glass (98) respectively. She is now the President of the Hong Kong Film Directors’ Guild.

questions. Mabel Cheung [導演的話] 我從 2011 年開始追蹤一群千禧年出生的十一歲學童，直到 2021 年她們二十一歲。這十年的青蔥歲月裏，我見證了她們在人生關鍵時刻的歡笑、盼望、痛苦和困惑，今天回首，這次拍攝經歷，原來也是一次自我發現的過程。不知不覺間，香港步入回歸以來最動盪的十年：「反國教」、「佔中」、「反修例」、以至其他日漸加劇的社會運動。這些驟來的變化，可有在年輕人的生命中，留下永久的烙印？他們的父母、老師、同學和朋友，又可有做些什麼，幫助或影響他們的成長？在社會變遷下，令我最驚訝的是這些青少年那股堅韌的勇氣。生活或許不如人意，但她們繼續追求夢想，唯一渴望或需要的，只是身邊人的愛、理解和支持。當然，生命也可以是脆弱的，家人或同儕很容易便會因為缺乏耐性或信任，無意地傷害、甚至毀掉這些年輕人的夢想，叫人惋惜。在這部紀錄片中，我試圖分析年輕一代的成長及蛻變，但到最後，我還是沒有得到肯定的答案，反而發現更多的問題。只有一點，我是肯定的：永遠不要小看年輕人，儘管眼前的他軟弱迷惘，但生命不斷改變，我們現在所見到的，只是永恆的一個片段，只是他們人生中的一個瞬間。 Mabel CHEUNG holds a Master’s degree in film production from New York University. Since her prize-winning debut, The Illegal Immigrant (1985), she has garnered numerous awards, including Best Film and Best

15 2022 | Cantonese | DCP | Colour | 136 min Director Mabel Cheung Producer Eunice Wong Cinematographer Derek Ng, Hoi Chiu, Vincent Lam, Rex Chan, Leon Lai, TT Mok Editor William Kwok, Nose Chan Music Cynthia Wong Sound George Lee Production Ying Wa Girls' School World Sales Golden Scene Co., Ltd. 導演張婉婷監製黃慧攝影吳兆倫、趙凱、林銘濤、陳浩然、黎明輝、莫允鏊剪接郭偉倫、陳序慶音樂黃旨穎音響李耀強

張婉婷畢業於香港大學，於英國修讀戲劇及寫作，後獲美國紐約大學電影碩士學位。 1985 年執導首部電影《非法移民》，獲第五屆香港電影金像獎最佳導演，亦開始了和羅啟銳一編一導的合作關係。隨後，《秋天的童話》(87 ) 獲第七屆金像獎最佳電影、《玻璃之城》 (98 ) 提名第 35 屆金馬獎最佳導演。現任香港電影導演會會長。 SELECTED FILMOGRAPHY 主要作品 1985 The Illegal Immigrant 非法移民 1987 An Autumn’s Tale 秋天的童話 1997 The Soong Sisters 宋家皇朝 1998 City of Glass 玻璃之城 2001 Beijing Rocks 北京樂與路 2015 A Tale of Three Cities 三城記 GALAS 首映禮隆重首映

100超過Over 中文字幕影片 withChinesesubtitles 套 films $28超級優惠票價游學修 Neo Yau余香凝 Jennifer Yu 本地全日制學生 Full-time Hong Kong students 六十歲或以上高齡人士 Senior citizens above 60 殘疾人士及看護人 People with disabilities and their minders 綜援受惠人士 CSSA recipients 以上優惠受有關條款及細則限制，詳情請參閱本節目及訂票手冊之門票優惠。 Terms and conditions apply to the above discounts. Please refer to “How to Buy Tickets” section for details on discounts. Specially Discounted Tickets Presented by 主辦 Financially Supported by 資助機構電影節青年大使 HKIFF Young Ambassadors

GALA PRESENTATION 星光盛宴 Cinephile Paradise 影迷嘉年華

18 CINEPHILE PARADISE 影迷嘉年華 France/Belgium/Germmany/Sweden 法國／比利時／德國／瑞典 2021 | English/Swedish DCP/ Online | Colour | 113 min Director Mia Hansen-Løve Producer Charles Gillibert, Rodrigo Teixeira Scriptwriter Mia Hansen-Løve Cinematographer Denis Lenoir Editor Marion Monnier Production Designer Mikael Varhelyi Music Rapha l Hamburger Sound Paul Heymans Cast Vicky Krieps, Tim Roth, Mia Wasikowska, Anders Danielsen Lie Production CG CINÉMA World Sales Kinology

年出生，先在阿薩耶斯的《八月尾，九月初》( 98 ) 及《情感的宿命》 (2000 ) 幕前亮相， 01 年到巴黎戲劇藝術學院接受正式訓練， 07 年執導首部長片《寬恕與原諒》， 09 年憑《爸爸的肥皂泡》奪得康城「某種觀點」評審團特別獎，16 年更憑《從前．現在．將來》贏得柏林最佳導演獎。 SELECTED FILMOGRAPHY 主要作品 2007 All is Forgiven 寬恕與原諒 2009 Father of My Children 爸爸的肥皂泡 2011 Goodbye First Love 再見初戀 2016 Things to Come 從前．現在．將來 2021 Bergman Island 情尋褒曼小島 2022 One Fine Morning 晴朗的早晨

影片是雙重架構──是關於對電影特別是英瑪褒曼的愛，也是關於兩個愛情故事。為何如此建構影片？我並非刻意如此，只是覺得這是必然選擇。《情尋褒曼小島》可能是我首部「一揮而就」的影片，沒有了往常寫劇本的痛苦。我感到一直緊閉的門打開了，是小島的功勞。我首次覺得能夠於過去、現在、虛中有實、實中有虛的不同層面自由穿梭往還……架構可歸納為兩個相關問題──關於情侶及關於靈感。當你談導演夫妻時，他們的互動多少是基於孤獨，又多少是基於相知相愛？虛構從何而來？又如何寫進劇本？我一直有此構思，但直至想到將兩位導演帶到法羅島，並以景致及褒曼的世界為背景，計劃才得以成事。當我決定由此展開，進駐褒曼故居及試行編導實驗，我便找到了結構──換言之，是兩部分，窺探女主角創作電影的過程，難以解脫的痛苦初戀經歷啟發了艾美的寫作，接下來的情節則是過去與未來、現實與想像的難解難分……這種混亂與我的寫作過程對照，我有時覺得拍戲讓我重塑回憶，往往取代喚起記憶的現實。 Mia HANSEN-LØVE was born in 1981. She was cast by Olivier Assayas in Late August, Early September (98) and Sentimental Destinies (2000) before she began formal training at the Paris Conservatoire

Interview

米雅韓桑露芙

Bergman Island 情尋褒曼小島

The film is two-fold – it’s about love for cinema, and Bergman particularly, but also about a double love story. Why did you build the film like this? I didn’t go about it theoretically, it just came to me as an obvious choice. Bergman Island is probably my first film that somehow got written “all by itself”, without the pain I usually feel during the writing process… The construction comes from the subject matter that could come down to two interconnected questions, that of couples and that of inspiration. I’d been wanting to make a film about this but it’s only when I thought of bringing these two filmmakers to Fårö and of using landscapes and Bergman’s world as a backdrop that the project came together. As I decided to work from there, moving into one of Bergman’s houses and somehow experimenting with the film I was writing, I found the structure – in other words, the two parts, a glimpse into the heroine’s film-inthe-making, a painful first love experience without closure inspiring filmmaker Amy’s writing, the subsequent episodes that you can’t tell which part of the narrative they belong to – past or future, reality or fantasy… This confusion echoes my own writing process. I sometimes feel like filmmaking allows me to recreate memories that tend to substitute for the reality that inspired them. with Mia Hansen-Løve [導演訪問] d’Art Dramatique in 2001. In 2007, she directed her feature debut All is Forgiven. She has won the Cannes Un Certain Regard Special Jury Prize for Father of My Children (09) and Berlinale Best Director for Things to Come (16). 1981

The Divide La Fracture 撕裂巴黎 In French we say that humour is the politeness of despair. In your film, one might say that humour is the urgency of despair. All the nurses I met told me that they laughed a lot together. They need this kind of cathartic humour to cope with and endure things that are sometimes very hard to bear. In the same way, the film had to be funny so as not to sink into miserabilism, into a simple criticism of that which we already know. I think that this exhilaration through laughter makes the wounds and the harshness of what the injured yellow vests are going through, through which police violence is shown, even more striking and absurd. The police are civil servants of the government, and they are hitting people who are going to be treated by... civil servants of the government! It was complex to find the right tone and balance for the film, which walks a fine line between comedy and human and social tragedy, mixing documentary and fiction. I thought a lot about Ken Loach’s acerbic political comedies, like Raining Stones with Catherine Corsini Her film La Répétition (2001) competed at Cannes, and she was the Jury President for Caméra d’Or at Cannes in 2016.

Interview

19 CINEPHILE PARADISE 影迷嘉年華 France 法國 2021 | French | DCP /Online | Colour | 99min Director Catherine Corsini Producer Elisabeth Perez Scriptwriter Catherine Corsini Cinematographer Jeanne Lapoirie Editor Frédéric Baillehaiche Production Designer Toma Baqueni Music ROB Sound Nicolas Cantin, Fanny Martin, Jeanne Delplancq, Olivier Goinard Cast Valeria Bruni Tedeschi, Marina Foïs, Pio Marmaï, Aissatou Diallo Sagna Production France 3 Cinéma, Le Pacte, Auvergne-Rhône-Alpes Cinéma World Sales Kinology

[導演訪問] 法語有云：幽默是絕望的禮數。而你的電影似乎是說：幽默是絕望時最急切需要的東西。（在法國黃背心運動中）我遇到的護士們說他們經常一起大笑。他們需要這種讓人笑到作嘔的幽默感來面對一些難以忍受的狀況。同樣地，這部電影需要幽默感來令其不至於陷入愁苦主義，以及眾所周知的簡易批判。我認為這種笑聲帶來的亢奮使警暴下的黃背心抗爭者的傷害更為矚目，更為荒誕。作為公務員的警察毆打市民，這些市民又去接受公務員提供的治療！要為這部電影找到合適的基調和平衡是複雜的，需要在喜劇和人文社會悲劇之間找到位置，並且還將紀實和虛構糅合一起。我經常想起堅盧治的尖刻政治喜劇，例如《頂硬上》。 Catherine CORSINI was born in 1956 in France and studied at the Conservatoire d’Art Dramatique under the direction of Michel Bouquet and Antoine Vitez. Her first feature film was Poker (87).

嘉芙蓮郭仙妮 1956 年生於法國，十八歲往巴黎當演員，結果拍了電影，她編導了不少作品， 87 年執導首部劇情長片《撲克》。2001 年的《未了情未了》入圍康城競賽部分，16 年她更出任康城影展金攝影機獎評審團主席。 SELECTED FILMOGRAPHY 主要作品 1994 Les Amoureux 戀人們 2006 Les Ambitieux 兩顆雄心 2012 Three Worlds 一撞三世界 2018 An Impossible Love 恨一世的愛 2021 The Divide 撕裂巴黎 ©CHAZ Productions ©CHAZ Productions

Director François Ozon Producer Éric Altmayer, Nicolas Altmayer

Cast Sophie Marceau, André Dussollier, Géraldine Pailhas, Charlotte Rampling, Hanna Schygulla, Grégory Gadebois, Production Mandarin Production, FOZ, France 2 Cinéma, Playtime, Scope Pictures World Sales Playtime

Emmanuèle’s passing, her absence, made me want to meet her again. Perhaps I also felt that, in my personal life, I was ready to immerse myself in this story. […] Emmanuèle’s writing is behaviorist: she describes facts and actions. And in this book, there is a lot of dialogue. So the work was rather simple, fluid, chronological, but there were also many holes in the story, of which I knew the details, but wasn’t sure what to do with. […] Much like with By the Grace of God, I investigated further, by speaking to the real characters of the story: Serge Toubiana, Emmanuèle’s partner, and Pascale Bernheim, her sister. There was an omission in the book: Claude de Soria, her mother. We never spoke about her. It was the book’s blind spot. I only knew she was gravely ill and depressed. […] Today, what brings me joy is to think that this film might help people discover Claude de Soria’s work and, above all, Emmanuèle’s books. […] The film could have taken place entirely in a hospital room, but I didn’t want to make a morbid, medical huis-clos. André Bernheim was very much on the side of life. His desire to die springs from the fact that he can no longer live the way he loves to live. The film is on the side of life, as was the book. Whenever I could inject a little humour, I did it. with François Ozon [導演訪問] screened at major festivals. His 2019 film By the Grace of God won the Grand Jury Prize at Berlinale.

Production Designer Emmanuelle Duplay Sound Nicolas Cantin, Julien Roig, Jean-Paul Hurier

20 CINEPHILE PARADISE 影迷嘉年華 France 法國 2021 | French | DCP | Colour | 113 min

你怎樣認識艾曼妞貝爾南？我在 2000 年認識艾曼妞。她給我看小說初稿，分享她與父親的體驗，令我深深感動。我喜歡該書的節奏、調子、緊湊而懸疑的結局，故事像驚慄片般展開，我尤愛兩姐妹完成其「任務」時，讓你感受到曖昧而矛盾的寬慰。為何想改編《爸爸可否不要死》？艾曼妞的寫法是很行為主義式的，她描繪事實及行動。就像《以恩寵之名》那樣，我進一步調查，與故事裏的真實人物，包括艾曼妞的伴侶蓋勒杜比亞納及她姐姐帕斯卡萊傾談。書中沒有提及她母親歌迪亞德蘇莉雅。她是書中的盲點。我只知道她病重，亦患上抑鬱。今天，想到此片或許能讓人重新發現歌迪亞德蘇莉雅的作品，更重要是艾曼妞的書，令我欣喜。在布列塔尼沐浴一場，象徵着你渴望為故事注入生命。整部電影可以在醫院內發生，但我不想拍死亡、沒有出路的困境。安德烈貝爾南擁抱生命。他想死，只不過是因為無法一如以往過活。他牽絆於對生命的愛。正如原著一樣，此片是關於生命。幽默和諷刺只是從角色和處境自然而來。艾曼妞愛笑，富幽默感，她爸爸亦一樣，有一種尖酸的黑色幽默感。 François OZON was born in Paris in 1967. After receiving Master’s Degree in Film, he went to attend the film school La Fémis. His first full length film Sitcom (98) received international acclaim, and his subsequent works were continuously

Scriptwriter François Ozon Cinematographer Hichame Alaouié Editor Laure Gardette

Interview

Everything Went Fine Tout s’est bien passé 爸爸可否不要死 Why did you want to adapt Everything Went Fine?

François OZON was born in Paris in 1967. After receiving Master’s Degree in Film, he went to attend the film school La Fémis. His first full length film Sitcom (98) received international acclaim, and his subsequent works were continuously screened at major festivals. His 2019 film By the Grace of God won the Grand Jury Prize at Berlinale.

Peter von Kant 彼特的苦淚 Returning to Fassbinder

法蘭索瓦奧桑 1967 年生於法國巴黎。於巴黎索邦大學取得電影碩士學位後，他入讀享負盛名的法國國家視聽高等學院。98 年執導首部長片《失魂家族》大獲好評，作品多次入選歐洲三大影展，並憑《以恩寵之名》( 19) 贏得柏林影展評審團大獎。 SELECTED FILMOGRAPHY 主要作品 2000 Water Drops on Burning Rocks 1001 火熱男女 2002 8 Women 8 美千嬌 2005 Time to Leave 最後的時光 2012 In the House 偷戀隔籬媽 2016 Frantz 愛的替身 2019 By the Grace of God 以恩寵之名 France 法國 2022 | French/German | DCP | Colour | 85min Director François Ozon Producer François Ozon Scriptwriter François Ozon Cinematographer Manu Dacosse Editor Laure Gardette Production Designer Katia Wyszkop Music Clément Ducol Sound Brigitte Taillander, Julien Roig, Jean-Paul Hurier Cast Denis Ménochet, Isabelle Adjani, Hanna Schygulla, Khalil Gharbia, Stéfan Crépon, Aminthe Audiard Production FOZ, France 2 Cinéma, Playtime, Scope Pictures World Sales Playtime

Fassbinder’s body of work, philosophy and vision of the world have always haunted me. His unbelievable creative energy fascinates me and remains an example I follow in my own way of working. Self-portrait of the artist I knew deep down that I wanted to make a version of The Bitter Tears of Petra von Kant that I could identify with directly. So I traded the world of fashion for the world of cinema and changed the gender of the three main characters. I always suspected the story was a thinly veiled self-portrait, centred around one of Fassbinder’s passionate love affairs. His last companion, Juliane Lorenz, whom I’ve known since I adapted Water Drops on Burning Rocks, confirmed my intuition. In The Bitter Tears of Petra von Kant, Fassbinder had turned his own unhappy love affair with one of his favourite actors, Günther Kaufmann, into a lesbian love story between a fashion designer and her Themodel.“bitter tears” in Fassbinder’s play and film are artificial, which is what makes them beautiful, both theatrically and cerebrally. But my goal was to try to make them more “real” for today’s audiences. I wanted these tears to be shared, not just admired. François Ozon [導演的話]

回到法斯賓達法斯賓達的作品、哲學及世界觀令我着迷。他不可思議的創作力量深深吸引我，亦成為我工作方式的典範。藝術家的自畫像我打從心底想拍一部讓我直接投身的《柏特娜的苦淚》，因此將原作的時裝變為電影世界，並更改三位主角的性別。我常懷疑故事是一幅虛飾的自畫像，焦點在法斯賓達其中一段熾熱的戀情。在改編《1001 火熱男女》時我開始認識他的最後情人朱利亞羅倫斯，我的直覺得到證實。在《柏特娜的苦淚》，法斯賓達將自己與最喜愛演員之一根特考夫曼之間的不愉快戀情，投射入時裝設計師與模特兒的女同故事。我改編時將過度文藝的對白濃縮及簡化，讓觀眾直接進入故事，與角色產生更大的情感共鳴。法斯賓達的作品傾向布萊希特式的，疏離感較重；我則着重文本的情感力量，帶出角色的人性及感情，放下法斯賓達的「小劇本玩偶」，令人物更有血有肉。法斯賓達的戲劇及電影中的「苦淚」很人工化，令其在戲劇性及思想性上都很美。不過我的目標是令當下觀眾看到的更「真實」。我不希望只是欣賞，而是分享這些苦淚。 © foz

21 CINEPHILE PARADISE 影迷嘉年華

Parking

Son (19) and

CHUNG Mong-Hong was born in 1965 in Pingtung County, Taiwan. After graduating from university in Taiwan, he attended the School of the Art Institute of Chicago to study film in 1991. He directed his first documentary feature Doctor in 2006 and his debut in 2008. A The Falls won Best Narrative the Golden

feature

22 CINEPHILE PARADISE 影迷嘉年華 2021 | Mandarin | DCP | Colour | 129 min Director Chung Mong-Hong Producer Tseng Shao-Chien, Arthur Chu, Tung Cheng-Yu Scriptwriter Chung Mong-Hong, Chang Yao-Sheng Cinematographer Chung Mong-Hong Editor Lai Hsiu-Hsiung Production Designer Chao Shih-Hao Music Lu Lu-Ming Sound Tu Duu-Chih, Wu Shu-Yao Cast Alyssa Chia, Gingle Wang, Chen Yi-Wen, Lee Lee-Zen Production/World Sales 3 NG Film 導演鍾孟宏監製曾少千、瞿友寧、董成瑜編劇鍾孟宏、張耀升攝影鍾孟宏剪接賴秀雄美術趙思豪音樂盧律銘音響杜篤之、吳書瑤演員賈靜雯、王淨、陳以文、李李仁 The Falls 瀑布 2020 was an unforgettable year for all people around the world. The threat of the Covid-19 pandemic forced us to wear masks. As a result, many people changed their way of life and some even, tragically, lost their loved ones. The social distancing measures made people lose a sense of trust in each other. What this film dwells on is trust. Chung Mong-Hong [導演的話] 2020 年對於全世界的人來說都是難忘的一年，新冠肺炎的威脅迫使我們戴上口罩，改變了很多人的生活方式，有些甚至失去了愛人以及親友。在社交距離的措施下，人與人之間的信任也更加疏離。信任感，即是這一部電影所要表達的。

Horse Awards. 鍾孟宏 1965 年生於台灣屏東縣，國立交通大學資訊工程系畢業，後到美國芝加哥藝術學院攻讀電影製作碩士。 2006 年執導紀錄長片《醫生》， 08 年執導首部劇情長片《停車》。憑《陽光普照》( 19 )及《瀑布》兩度奪得金馬獎最佳劇情長片獎。 SELECTED FILMOGRAPHY 主要作品 2008 Parking 停車 2010 The Fourth Portrait 第四張畫 2013 Soul 失魂 2016 Godspeed 一路順風 2019 A Son 陽光普照 2021 The Falls 瀑布

Feature at

Production

Anton

Film, Rohfilm Productions World Sales The Match Factory Great Freedom Grosse Freiheit 羈不住的自由

23 CINEPHILE PARADISE 影迷嘉年華 Austria/Germany 奧地利／德國 2021 | German | DCP | Colour | 116min Director Sebastian Meise Producer Sabine Moser, Oliver Neumann, Benny Drechsel Scriptwriter Thomas Reider, Sebastian Meise Cinematographer Crystel Fournier Editor Joana Scrinzi Production Designer Michael Randel Music Nils Petter Molvaer, Peter Brötzmann Sound Jörg Theil, Atanas Tcholakov, Manuel Meichsner

Cast Franz Rogowski, Georg Friedrich, von Lucke, Prenn Freibeuter Imagine a world where love is forbidden by law and punished with imprisonment. What sounds like a dystopia was reality for gay men in Germany till the late 1960s. Paragraph 175 allowed the state to persecute homosexuals, which it did with great effort and meticulousness. This significant historical fact was completely new to me until I read reports about gay men who were liberated from concentration camps by the Allies, but were transferred straight to prison to serve their remaining sentences. Their persecution would not be over for them for decades. This was the starting point of our story. Our main character, Hans, exemplifies the fates of many men who ended up in prison over and over again, whose lives and relationships were destroyed, and whose stories disappeared in the files of bureaucracy. In prison, of all places, Hans finally finds love. Of all the people he could possibly imagine, he finds it with Viktor, a convicted murderer. In a tentative rapprochement, these two men, who could not be more different, learn to respect each other and eventually become confidants. Over the decades, an unexpected intimacy grows between them, and in the end they find themselves in a relationship that eludes definition. These two men, who are stigmatised for life, meet in their longing for love and freedom. A longing that, however strong the oppression may be, will always find a way. Sebastian Meise [導演的話]

想像一個依法禁制並關押愛情的世界。這個聽起來像是反烏托邦，但對德國男同志來說，直至六十年代後期，這都是他們面對的現實。刑法第 175 條容許國家全力並一絲不苟地迫害同性戀者。這個重要的歷史事實，我是聞所未聞的，直至我讀到關於同性戀者被盟軍從集中營解救出來，卻被直接移送到監獄繼續服刑的報導。對他們的迫害，數十年沒有結束。這是我們故事的起點。主角漢斯的命運是當時普遍例子，他們一次又一次入獄，生活和人際關係遭到破壞，他們的故事消失在官僚檔案裏。漢斯的故事就由他被監禁說起，石牆和鐵窗反覆出現，彷彿永無止境的時間迴環。在監獄內，漢斯找到了真愛。在他所能想像的人當中，他找到了被定罪的殺人犯域托。他們試圖由敵對走向和解，這兩個截然不同的男人學會了彼此尊重並最終成為密友。長年累月，他們之間發展出意想不到的親密，發展出難以定義的關係。這兩個終生被污名化的男人，渴望愛和自由，並在此間遇上對方。不管壓迫多強大，渴望的事總會找到法子。 Sebastian MEISE was born in 1976 in Tirol, Austria. He first studied painting and philosophy, later directing at the Vienna Film Academy. He co-founded the Vienna based production company FreibeuterFilm. 薩巴斯蒂安邁沙 1976 年生於奧地利蒂羅爾，先修讀美術及哲學，後畢業於維也納電影學院導演系。與友人共同創立位於維也納的 FreibeuterFilm 製作公司。 SELECTED FILMOGRAPHY 主要作品 2011 Still Life 情書風暴 2012 Outing ( docu) 自白（紀錄片） 2021 Great Freedom 羈不住的自由 ©Freibeuterfilm_Rohfilm Persons Aged 18 and Above Only 只准18歲或以上人士

Thomas

directed short films. Lamb is his first feature. 瓦迪馬約翰遜 1978 年生於冰島，二十多年來活躍於當地影壇。 2013 至 15 年間入讀薩拉熱窩由貝拉塔爾創立的電影學校，修讀博士課程。曾拍多部短片，《羊嬰傳說》是其首部長片。 FILMOGRAPHY 作品年表 2021 Lamb 羊嬰傳說 © Go to Sheep_2021

Tarr’s Film Factory

Sarajevo,

Jóhannsson [導演的話] 故事／靈感童年時我住在祖父母的牧場，對羔羊和山羊都很熟識。我常想拍一個來自民間傳說的故事，反映人與大自然的關係。2010 年監製介紹我認識筆名松的冰島作家，談及我的構思，後來便有了《羊嬰傳說》的劇本。愛／失去這可以是任何人的故事；偶爾灰暗，但喜樂一刻總不會遠。於我，此片是一首影像詩，關於失去的哀痛，令你不惜一切尋回往昔的快樂。瑪麗亞及英格亞夫婦的生命滿是愧疚和悔恨，對失去和哀傷無法釋懷。因此，即使明知轉瞬即逝，他們都孤注一擲，只求重得平衡、重拾快樂。當瑪麗亞竭力保護家庭，免受外力威脅他們精心建構的超現實世界，她知道要懷着愛，接受現在，活於當下，直至不可避免的結局。此刻，她只想過去，不想未來。瑪麗亞的力量及決心啟發自我剛去世的祖母。她與祖父有個養羊的牧場，在八年間生了五名兒女。牧場生活殊不容易，但祖母不會讓任何事打垮她的鬥志。瑪麗亞正有此不屈不撓的精神，牢不可破，亦拒絕放棄生命。儘管她與丈夫所失的奪去他們的熱誠與喜樂，但亦令他們的關係更緊密。 Valdimar JÓHANNSSON was born in 1978 in Iceland. He has been active in the Icelandic film industry for two decades. From

24 CINEPHILE PARADISE 影迷嘉年華 Iceland/Sweden/Poland 冰島／瑞典／波蘭 2021 | Icelandic | DCP | Colour | 107 min Director Valdimar Jóhannsson Producer Hrönn Kristinsdóttir, Sara Nassim Scriptwriter Sjón, Valdimar Jóhannsson Cinematographer Eli Arenson Editor Agnieszka Gli ska Production Designer Snorri Freyr Hilmarsson Music Þórarinn Guðnason Sound Ingvar Lunderg, Björn Viktorsson Cast Noomi Rapace, Hilmir Snær Guðnason, Björn Hlynur Haraldsson, Ingvar Sigurðsson Production Go to Sheep World Sales New Eupore Film Sales

programme

Lamb Dýrið 羊嬰傳說 The story could be anyone’s life; dark at times, but a moment of joy is never far away. For me the film is first and foremost a visual poem about a loss so painful you are willing to do almost anything to bring back the joy and happiness that was there before. There is guilt and remorse in the life of the couple Maria and Ingvar, who have been unable to overcome their loss and their sorrow. Because of it, they are willing to give in to something that they both know will only last for a short while – an attempt to regain balance and joy in their lives. But as Maria attempts to protect the family from any and all outside forces that threaten their carefully composed new surreal reality, she knows that this reality has to be lived here and now in love and acceptance until the inevitable end. Maria’s strength and determination were inspired by my grandmother, who just recently passed away. Her and my grandfather had a sheep farm… Life on the farm was not always easy, but my grandmother would never let anything break her spirit. Maria also has this resilience. She is unbreakable and refuses to give up on life. And although her and her husband’s loss has robbed them of all passion and joy, it has also brought them closer together. Valdimar 2013–2015 he was in the PhD at Béla in Bosnia-Herzegovina. He has previously

Leila's Brothers 藏金風暴 The story is set in the same family context as your first feature film, Life and a Day. Is this new film an update of what goes on in the same environment? Since my short films, family has been a central theme for me. So in my opinion, Leila’s Brothers isn’t as much of an update as it is a continuity. I also think that even if it has a more or less similar setting to Life and a Day, they have many differences in terms of narrative, form, and also characters. This is especially true for the father, who had been absent in my films until now. Leila’s Brothers undoubtedly has a universal reach. And it is also specific to Iranian society, as we’ve had an emergent middle class in recent decades. This is true for the small cities too where families started to reach a certain level of everyday comfort: to own a car and have external signs of wealth. This development created the inner shell of this society. However, since the Ahmadinejad government, this structure has been completely shattered. The middle class disappeared gradually causing an enlarging rift in society and its massive impoverishing.

25 CINEPHILE PARADISE 影迷嘉年華 Iran 伊朗 2022 | Persian | DCP | Colour | 169min Director Saeed Roustaee Producer Saeed Roustaee, Javad Noruzbegi Scriptwriter Saeed Roustaee Cinematographer Hooman Behmanesh Editor Bahram Dehghan Production Designer Mohsen Nasrollahi Sound Amirhosein Ghasemi, Rashid Daneshmand, Iraj Shahzadi Cast Taraneh Alidoosti, Navid Mohammadzadeh, Payman Maadi Production IRIS Film World Sales Elle Driver

Interview with Saeed Roustaee

[導演訪問] 故事背景與你首部長片《永遠的一天》相同，是對相同環境會發生什麼故事的更新嗎？從我拍短片開始，家庭一直是中心主題。所以在我看來，本片與其說是更新，不如說是延續。我也認為，即使它的故事背景或多或少跟我的首部長片類似，在敘事、形式和角色方面也有很多不同。尤其是父親的角色，在我以前的電影裏都沒有出現。本片故事無疑具有普世性，也是伊朗社會特有的處境，有我們近數十年發展起來的中產階級。對於小城市來說也是如此，家庭開始達到小康：擁有汽車並有財富跡象。這種發展建立了這個社會的內層。然而自從內賈德政府上台以後，這種結構被徹底打破。中產階級逐漸消失，導致社會裂痕擴大及走向赤貧。 Saeed ROUSTAEE was born in Iran in 1989. He graduated from Soore University with a Bachelors in Cinematography. His second feature film, Just 6.5 (2019), premiered at Venice Orizzonti, and was nominated for the César Award for Best Foreign Film and won the Best Director Award at the Tokyo International Film Festival. 薩伊德盧斯塔伊 1989 年生於伊朗，畢業於索爾大學，主修電影攝影。第二部長片《緝毒風暴》(2019)獲凱撒獎最佳外語片提名，並獲東京國際電影節最佳導演獎。 SELECTED FILMOGRAPHY 主要作品 2016 Life and a Day 永遠的一天 2019 Just 6.5 緝毒風暴 2022 Leila’s Brothers 藏金風暴 © Amirhossein Shojaei ©Amirhossein Shojaei

Justin KURZEL was born in Gawler, Australia in He is a graduate of he his

Production Designer

Jed Kurzel

Production Thing Sales Wild Bunch

latest feature film. 渣士汀卻素 1974 年生於澳洲高勒，2004 年畢業於維多利亞藝術學院電影導演系。11 年拍成首部長片《赤雪之城》。《惡的序章》是他第五部長片。 SELECTED FILMOGRAPHY 主要作品 2011 Snowtown 赤雪之城 2015 Macbeth 馬克白 2016 Assassin’s Creed 刺客教條 2019 True History of the Kelly Gang 凱利幫的真實歷史 2021 Nitram 惡的序章

Nick Fenton

Editor

Germain McMicking

Steve Single Cast Caleb Landry Jones, Judy Davis, Essie Davis, Anthony LaPaglia

1974.

the NIDA Design course and has designed for the Sydney Theatre Company, Belvoir St Theatre and Melbourne Theatre Company. In 2004,

Producer

Sound

Good

Director

26 CINEPHILE PARADISE 影迷嘉年華 Australia 澳洲 2021 | English | DCP | Colour | 112min

Justin

Cinematographer

Alice Babidge

Music

Productions World

Scriptwriter

Nitram 惡的序章 Shaun Grant’s script [...] was unexpected and revealing in its honesty and genuine desire to understand and ask questions about one of the darkest chapters in Australian history, the 1996 Port Arthur shootings. Since my first film, Snowtown, I have been interested in why these young men search for answers in such extreme violence. Is there a cultural void, which starves these human beings of a tribe, an absence of belonging? When there is no church, no sense of origin, no connection to land and country, what becomes their compass, what corrupts them towards this apathetic and senseless need to destroy life? As filmmakers, we have tried to tread gently. I am conscious that this film is speaking to an event in time, which we would rather look past. The profound pain runs deep. Forgetting helps us survive but freedom comes from memory. I have sought to reach into the darkness to find a truth and to understand the unimaginable. There are no answers, but the legacy of Port Arthur is our albatross around our necks, it is, part of our history and it warns the future of its perils. Justin Kurzel [導演的話]

過去四年我一直住在塔斯曼尼亞，我和妻子決定在那裏撫養我們的女兒。這裏有種與眾不同的活力和韌力。它亦發生過可怕悲劇，尚未克服，像有迷霧縈繞在其美麗之上。尚恩格蘭特的劇本就來自那些陰影。1996 年亞瑟港槍擊案是澳洲史上黑暗一章，尚恩格蘭特透過劇本呈現出想去理解事件及提出疑問的真誠渴望，令人意想不到，發人深省。從我首部長片《赤雪之城》開始，我一直對這些年輕人為何要透過如此極端的暴力去尋求答案很感興趣。是否因為文化上的虛無，令他們缺乏歸屬感？當他們沒有教會，沒有根源的意識，沒有與土地和國家的連繫時，什麼是他們的指南針，是什麼腐蝕了他們，令他們變得如此冷漠，如此無謂的渴望殺生？身為電影人，我們嘗試輕輕地踩入這題材。我意識到這部電影正在講述一件過去了的事，一件我們寧願忽略的事。痛苦蔓延到深處，遺忘有助我們生存，但有記憶才有自由。我試圖深入黑暗，尋找真相，理解難以想像之事。是不會有答案的，但亞瑟港事件給我們留下這個無法擺脫的苦惱，正是我們歷史一部分，也提醒着未來的危難。

graduated from Film Directing at Victorian College of Arts. Nitram is

Justin Kurzel Nick Batzias, Virginia Whitwell, Kurzel, Shaun Grant Shaun Grant

27 CINEPHILE PARADISE 影迷嘉年華 France 法國 2021 | French | DCP | Colour | 105min Director Jacques Audiard Producer Valérie Schermann Scriptwriter Céline Sciamma, Léa Mysius, Jacques Audiard Cinematographer Paul Guilhaume Editor Juliette Welfling Production Designer Virginie Montel Music Rone Sound Brigitte Taillandier, Vincent Goujon, Hortense Bailly, Niels Barletta Cast Lucie Zhang, Makita Samba, Noémie Merlant, Jehnny Beth Production Page 114, France 2 Cinéma World Sales Playtime Paris, 13th District Les Olympiades 愛慾巴黎十三區

To begin with, there were Adrian Tomine’s three graphic novels. I liked their brevity, their discreet depth, their characters filled with whimsy and melancholy, the skilful use of ellipsis, and finally how they consider each human being to be a small unfathomable abyss. Before this starting point, the desire to write a comedy had been there for a while. In linking comedy with Tomine’s work, I had the possibility of writing a “fluctuating” story mirroring Tomine’s characters. A discreetly constructed film whose heroes, however, would be constantly talking. At the very beginning of the beginning, there was Rohmer’s My Night at Maud’s, and without knowing it, the desire one day to make a film about love discourse, or more exactly: when and how does one speak about love today? [...] What actually happens in our era of Tinder and “sleeping together on the first date”? Can there be an amorous discourse in these conditions? Yes, of course, how could we possibly doubt that. But at what moment does it come into play? What are the words and the protocols? That is one of the main narrative threads of Paris, 13th District Jacques Audiard [導演的話]

故事的緣起，首先是阿德里安托明的三篇漫畫小說。我喜歡它們的簡潔、謹慎的深度、充滿怪念頭和憂鬱的人物、出色運用省略手法，以及最後如何將每個人視為深不可測的小深淵。在這個起點之前，我已有一段時間想寫喜劇了。把喜劇與托明的作品聯繫起來時，我得以寫出對應托明筆下人物的「蕩氣迴腸」故事。一部精心建構的電影，而其中主角會不停說話。更早之前，是伊力盧馬的《慕德家的一夜》，我在不知不覺間，有着有朝一日想拍一部關於愛情絮語電影的念頭，或更準確地說：今天人們何時及如何談論愛情？在我們這個用手機應用程式約會，「初次約會已睡在一起」的時代，到底會發生什麼？在這樣的環境下，能有愛慾絮語嗎？對啊，當然有，我們怎可能懷疑這一點。但它在什麼時候開始發揮作用？會用什麼字眼，有什麼約定俗成的東西？這正是本片主要敘事之一。

Jacques AUDIARD was born in 1952 in Paris, France. He has won both the César for The Beat That My Heart Skipped (2005) and A Prophet (09). A Prophet also won the Grand Prix at the Cannes Film Festival. His film Dheepan (15) won the Palme d’Or at the Cannes Film Festival.

積葵奧迪雅 1952 年生於巴黎一個電影世家，曾在索邦大學修讓文學與哲學，但中途輟學，跑去當電影助理剪接，投身劇場寫劇本。94 年執導首部長片《男人最痛》。憑《先知》 (2009 )奪得康城影展評審團大獎，《流離者之歌》( 15)更奪康城影展金棕櫊獎。 SELECTED FILMOGRAPHY 主要作品 1996 A Self-Made Hero 自製英雄 2005 The Beat That My Heart Skipped 我心遺忘的節奏 2009 A Prophet 先知 2012 Rust and Bone 銹與骨 2015 Dheepan 流離者之歌 2021 Paris, 13th District 愛慾巴黎十三區 ©ShannaBesson Persons Aged 18 and Above Only 只准18歲或以上人士 ©EponineMomenceau

and BAFTA awards

Drew Daniels

Universal Pictures International

Sound John Warrin, Andrew Hay, Sean Baker

Arts.

Director Sean Baker Producer Sean Baker, Alex Coco, Samantha Quan, Alex Saks, Tsou Shih-Ching

Matthew Hearon-Smith

Cast Simon Rex, Suzanna Son, Brenda Deiss

Production Cre Film Sales

是什麼令你對這題目感興趣？當時我正為 MTV 製作節目，要找大量成人電影演員客串。有次一位年輕女星說了句：「呀，我把衣服留在洗衣機了，今早忘了拿出來放進乾衣機。」那刻我突然意識到，那是如此人性又日常的事。就是這樣人人都會遇到的瑣事，讓我見到她貼地的一面──洛杉磯把成人影業塑造成一個很輝煌的世界，事實當然並不如此。當時我就想：「若我要拍關於成人電影的故事，就要把角色寫得貼地。」我不太在乎成人影業運作的細節，我們可以拍，可以討論，但已經有千萬個這樣的故事了……我想拍性工作者的平凡故事。是什麼讓你對這行業的男人更感興趣？ 2021 年說這番話有點危險……我想這是我拍電影以來第一次要採用異性戀男性凝視，現在來說是不該的事，尤其是拍電影……但要理解，並讓觀眾接近這個角色，我必須或多或少採用男性凝視的手法。現在美國過多標榜政治正確……但這部電影是拍給成年人看的。這個題目牽涉政治，要探討就要以最誠實的態度處理。

Production Designer Stephonik Music

[…] A young woman who was an adult film performer doing a cameo in our (MTV) show said something and suddenly hit me, “That was such a human, everyday sort of thing.” It’s such a mundane thought, but it’s something I think we can all identify with. […] When she said that, I saw the human side of her. […] I don’t really care much about exploring the mechanics of the adult film world, […] moving forwards, I was going to look for how I could incorporate sex workers into universal stories. Red Rocket could easily have been Lexi’s story and her experience. But there was something that really attracted you to the guy in this? […] This is an interesting thing and I haven’t mentioned this much in the press because it’s dangerous in 2021. This is the first film I’ve ever made in which I’ve had to go back and embrace the heterosexual male gaze, which is now a no no, essentially, in cinemas. …But for me to understand this character and get the audience closer to this character, I had to…employ, the male gaze a little bit.…Right now in the US, we’re leaning towards virtuesignaling way too much. […] This is made for adults. This is a subject matter in which I’m somewhat political — I’m trying to explore this, so I have to be as honest as possible. Interview with Sean Baker [導演訪問]

辛貝克

Sean BAKER was born in 1971. He graduated from New York University’s Tisch School of the His 2015 film Tangerine was shot on iPhone and won an Independent Spirit and two Gotham Awards at Sundance. The Florida Project (17), which premiered at the Cannes Film Festival, brought him the nomination of Best Director by the New York Film Critics Circle. 1971

Red Rocket What initially attracted you to this world?

28 CINEPHILE PARADISE 影迷嘉年華 USA 美國 2021 | English | DCP | Colour | 131min

赤色大箭男

Editor Sean Baker

Scriptwriter Sean Baker, Chris Bergoch

Cinematographer

年生於美國紐約，畢業於紐約大學電影學院。拍電影外，也參與製作電視喜劇及音樂節目。2000 年執導首作《三字經》，15 年以 iPhone 拍攝而成的《跨性有話兒》享譽國際影壇。前作《歡迎光臨夢幻樂園》( 17) 選用 35 米厘菲林拍攝，於康城影展首映，他亦憑此作提名紐約影評人聯盟獎最佳導演。 SELECTED FILMOGRAPHY 主要作品 2008 Prince of Broadway 百老匯王子 2012 Starlet 小明星 2015 Tangerine 跨性有話兒 2017 The Florida Project 歡迎光臨夢幻樂園 2021 Red Rocket 赤色大箭男 Persons Aged 18 and Above Only 只准18歲或以上人士

World

Director Jafar Panahi, Anthony Chen, Malik Vitthal, Laura Poitras, Dominga Sotomayor, David Lowery, Apichatpong Weerasethakul Producer Brad Becker-Parton, Andrea Roa, Jeff Deutchman

29 CINEPHILE PARADISE 影迷嘉年華 USA/Iran/Chile/Thailand/UK/Singapore 美國／伊朗／智利／泰國／英國／新加坡 2021 | English/Persian/Putonghua/Spanish/Thai DCP | Colour | 121 min

Apichatpong WEERASETHAKUL was born in Bangkok in 1970. His films Uncle Boonmee Who Can Recall His Past Lives (10) and Memoria (21) won the Palme d’Or and Jury Prize at Cannes respectively.

Scriptwriter Jafar Panahi, Anthony Chen, David Lowery Production Animal Kingdom, NEON World Sales The Match Factory

洛杉磯出生及長大，畢業於南加州大學電影藝術學院， 14 年執導首部長片《帝國夢想》。

憑《第四公民》( 14) 獲奧斯卡最佳紀錄片獎。

大衛羅利

初夏》( 18) 獲羅迦諾電影節最佳導演獎。

Laura POITRAS was born in Boston in 1964. She is a filmmaker and journalist. Her film Citizenfour (14) won the Oscar for Best Documentary Feature. 羅拉柏翠絲 1964 年生於美國波士頓，美國紀錄片導演及記者，

16)、《再見魅了緣》( 17) 及《綠騎士》(21

Malik VITTHAL was born and raised in Los Angeles. He graduated from the University of Southern California’s School of Cinematic Arts and directed his feature debut Imperial Dreams in 2014. 馬力維塔爾

阿彼察邦韋拉斯花古 1970 年生於曼谷，憑《波米叔叔的前世今生》( 10) 獲康城金棕櫚獎，近作《記憶》(21 ) 獲康城評審團獎。 ©Amin ©Sergio©MalikVitthalKhatibiAlfonsoLópez©ApichatpongWeerasethakul ©Eric ©Giraffe©JanStürmannZachanowichPictures2019

The Year of the Everlasting Storm 暴風之年 As a result of the Covid-19 pandemic, film production came to a halt in March of 2020 and filmmakers across the world were confined to their homes. In 2011, Jafar Panahi made This Is Not a Film while under a state-imposed stay-at-home order, forbidden from writing screenplays or directing films. Panahi found an innovative and audacious way to comment on the circumstances and absurdity of his confinement. […] The result, This Is Not a Film, is a beguiling, self-reflexive statement on the enduring spirit of artists. Inspired by Panahi’s creativity and ingenuity in his unique circumstances, my colleagues and I wanted to challenge artists around the world to reimagine the boundaries of filmmaking and film production and embrace limitations to tell diverse, personal stories that reflect and respond to this moment of distance and isolation.

由於新冠疫情，在 2020 年 3 月，電影製作都停了，世界各地的電影人都被迫留在家裏。電影業界、電影文化方面的工作與日常生活都被打亂了。短短數星期，社交、工作和消費方式都出現了根本的改變。 2011 年，約化巴納希在國家禁止外出和拍片的禁令下，拍成了《這不是電影》。他找到了一種創新和大膽的方式，說出他被限制的處境及其荒謬。結果，《這不是電影》成為了對於藝術家不死精神的迷人聲明與自我反映。受到巴納希在其特殊環境中的創造力和獨創性所啟發，我和同事們想挑戰世界各地的藝術家，重新思考電影創作和製作的界限，接受限制，來講述各種各樣的個人故事，以反映和回應這個隔離和分離的時刻。 Anthony CHEN was born in Singapore in 1984. His debut feature Ilo Ilo (13), premiered at the 66th Cannes Film Festival and was awarded the Camera d’Or. Wet Season (19) is his latest feature. 陳哲藝 1984 年生於新加坡，首部長片《爸媽不在家》( 13 ) 獲康城影展金攝影機獎。 2019 年完成近作《熱帶雨》。

1985

Jafar PANAHI was born in Mianeh, Iran in 1960. He won the Golden Lion at Venice for The Circle in 2000, and the Golden Bear Best Film at Berlinale for Taxi in 2015

David LOWERY was born in Wisconsin, USA in 1980. He is a writer and director whose films include Pete’s Dragon (16), A Ghost Story (17) and The Green Knight (21). 1980 年生於美國，主要作品有《尋龍傳說》( )。 Dominga SOTOMAYOR was born in Santiago, Chile in 1985. For her latest film Too Late to Die Young (18) she became the first woman to receive the Leopard for Best Direction at Locarno Film Festival. 杜明嘉蘇圖美雅年生於智利聖地牙哥，近作《蘇菲亞的

Brad Becker-Parton, Andrea Roa, Jeff Deutchman [監製的話]

約化巴納希 1960 年生於伊朗。縱然被伊朗政府禁止拍片，仍創作不輟，憑《伊朗的士笑看人生》(15 ) 獲柏林影展金熊獎。

資助 Supported by FIREBIRD AWARDS 火鳥大獎 Young Cinema Competition (Chinese Language) 新秀電影競賽（華語）

YOUNG CINEMA COMPETITION (CHINESE LANGUAGE) JURY 新秀電影競賽（華語）評審團

Beijing in 1999 which has since produced multiple

films

Other

CHAN is a director and producer, and a leading figure in the Chinese language film industry. He has directed a string of critical and commercial hits and co-founded United

and

耐安監製及演員。1991 年畢業於中央戲劇學院導演系，1993 年開始以獨立監製身份參與電影製作。1999 年成立北京夢工作文化藝術有限公司，監製婁燁執導的長片《蘇州河》（2000）、《紫蝴蝶》（2003）、《春風沉醉的夜晚》（2009 ）、《推拿》（2014 ）、《風中有朵雨做的雲》（2018 ）等。憑《我還有話要說》（2012）獲羅迦諾電影節最佳女演員獎；其他演出作品包括《人生若只如初見》（2016 ）及《柔情史》（2018 ）。 Peter

Anthony CHEN is a writer, director and producer from Singapore. He was trained at film school in Singapore and then at the National Film and Television School in the UK. He is the first Singaporean to be awarded at Cannes with his 2007 short, Ah Ma. His debut feature Ilo Ilo (2013) was awarded the Camera d’Or, making history again as the first Singapore feature to be awarded at Cannes, and went on to win 40 awards internationally. His latest film, Wet Season (2019), was Singapore’s submission to the Academy Awards for Best Foreign Language Film. film producer actress. Central producer founded the Dream Factory feature directed by Lou Ye, Suzhou River (2000), Purple Butterfly (2003), Spring Fever (2009), Blind Massage (2014) and The Shadow Play (2018). She received the Best Actress award with When Night Falls (2012) at the Locarno International Film Festival. films include What Tears Us Apart (2016) and Girls Always Happy (2018). Ho-sun Filmmakers Organization (UFO) in 1992. His Comrades, Almost a Love Story (1996) won nine awards including Best Film and Best Director at the Hong Kong Film Awards, and was named one of the Top 10 Best Movies of 1997 by Time magazine. His acclaimed filmography includes Perhaps Love (2005), The Warlords (2007), American Dreams in China (2013), Dearest (2014) and Leap (2020).

including

Academy of Drama in 1991 and majored in Directing, she started to produce feature films as an independent

陳可辛身兼導演及監製，在華語影壇舉足輕重。曾於 1992 年聯合創辦 UFO 電影公司，並執導及製作多部叫好叫座的作品。1996 年執導的《甜蜜蜜》於香港電影金像獎囊括最佳電影及最佳導演等九項大獎，並獲《時代》雜誌選為 1997 年十大電影之一。其他著名作品包括《如果．愛》（2005）、《投名狀》（2007 ）、《中國合伙人》（2013 ）、《親愛的》（2014）及《奪冠》（2020 ）。 31 ©Hong Kong Film Awards Association

陳哲藝來自新加坡，身兼作家、導演及監製。在新加坡學校接受電影訓練，其後入讀英國國立電影電視學院。2007 年憑短片《阿嬤》成為首位在康城影展獲獎的新加坡電影人。首部長片《爸媽不在家》（2013）榮獲康城金攝影機獎，再創歷史，並於國際榮獲四十個獎項。近作《熱帶雨》（2019 ）代表新加坡競逐奧斯卡金像獎最佳外語片獎。 Nai An is a

since 1993. She

Graduated from the

這是一個律師的贖罪故事。它意圖揭示現今台灣社會價值中殘存的的父權思想，是如何看待師生戀，乃至於性侵案，並對被害者在個人、家庭、甚至是法律層面中形成的各種困境。絕大多數的性侵，真相往往幽微與曖昧。因為那正是權力的真正面目。權力之所以稱為權力，不在於你能做什麼，而在於你能讓對方做什麼。然而，我們對性的半推半就的固有想像，卻讓這樣的邪惡有了遁逃的可能。這便是《童話．世界》的源起：如果這種不帶暴力外觀的暴力如此普遍，為什麼我們能視而不見？甚至縱容美化，直至我們都成為了共犯？童話的魅力在於解除孩童的焦慮，學者貝特罕如是說。所以狼沒有當場吃掉小紅帽，目的是想將她引誘上床；女孩必須親吻黏滑的青蛙方能成為女人；公主因為王子的吻而蛻變重生；最後，藍鬍子的鑰匙將通往禁忌的入口……血淋淋的道德教訓，冷冰冰的角色區分，不容質疑的道德教條……童話不僅是工具，也是武器。我們即將跟隨主角張正煦進入由童話堆積的世界，一步一步地發現，為了將性侵犯繩之於法，我們必須挑戰的是金權，是法律，也是整個社會難以撼動的信仰。 Freddy TANG practiced law as an attorney for many years. He then pursued an MFA degree at CalArts, specialising in directing. He is known for depicting people’s plights under the legal system. 唐福睿取得法學碩士並成為執業律師五年，後赴美國加州藝術學院攻讀藝術創作碩士，主修電影導演。《童話．世界》是他執導的首部劇情長片。 FILMOGRAPHY 作品年表 2017 Wei Jin (stort ) 唯今(短片） 2022 Fantasy World 童話．世界 YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） Persons Aged 18 and Above Only 只准18歲或以上人士

Fantasy · World 童話．世界 Sexual violence implicates all of society. This is a tale of redemption. Uncovering traces of patriarchal bias in Taiwanese society, the film exposes attitudes towards sexual assault crimes and its impact on the individual, the family, and the justice Powersystem.hides in obscurity. Most sexual assault cases are shrouded in ambiguity. Authority figures are powerful because their influence is subtle yet compelling. Society lets them get away due to warped beliefs about sexual consent. Fairy tales are morality’s rigid whip. Fairy tales are charming because they alleviate a child’s fears. However, they are also full of gory punishments, clear-cut archetypes and rigid moral lessons. Fairy tales aren’t simply tools for instruction used by adults; they’re also deadly weapons. Let’s step into reality. Enter lawyer Zhang Zhengxu. He has power and authority, but he too yearns, loves and knows hatred. We are about to follow him down a rabbit hole. And with each step comes the realisation that in order to bring a sexual offender to justice, we will need to battle power, the law, and society’s entire value system.

32 2022 | Mandarin | DCP | Colour | 109min Director Freddy Tang Producer Ma Shen-Wen Scriptwriter Freddy Tang Cinematographer Chung Ai Editor Lei Chen-Ching Production Designer Chu Yu-Chi Music Chris Hou Sound Tu Duu-Chih, Jiang Yi-Chen Cast Joseph Chang, Cammy Chiang, Lee Kang-Sheng, Yin Shin, Kimi Hsia Production MG Storyteller Inc. World Sales Majestic Grace Entertainment Ltd. 導演唐福睿監製麻生汶編劇唐福睿攝影鍾艾剪接雷震卿美術朱玉頎音樂侯志堅音響杜篤之、江宜真演員張孝全、江宜蓉、李康生、尹馨、夏于喬

Freddy Tang [導演的話]

33 YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2021 | Putonghua | DCP | Colour | 111 min Director Kong Dashan Producer Wang Hongwei, Frant Gwo Scriptwriter Kong Dashan, Roy Wang Cinematographer Delvaux Matthias Editor Hu Shuzhen Production Designer Sinsin Guo Music Su Zixu Sound Zhang Guodong Cast Yang Haoyu, Ailiya, Roy Wang, Chimy Jiang, Sheng Chenchen Production G!FILM Studio (Beijing) Co., Ltd. World Sales Parallax International Sales 導演孔大山監製王紅衛、郭帆編劇孔大山、王一通攝影 Delvaux Matthias 剪接胡樹真美術郭欣勃音樂蘇紫旭音響張國棟演員楊皓宇、艾麗婭、王一通、蔣奇明、盛晨晨 Journey to the West Yuzhou Tansuo bianjibu 宇宙探索編輯部 There are many characters in this story, a UFO chaser, a poet waiting for sparrows, a noisy woman, a drunken young man, a girl who can’t sleep, and a donkey. Meaning is important, like a carrot dangling in front of a donkey that keeps it running. But there are always those who look at the carrot in front of them and decide to start an adventure. Kong Dashan [導演的話] 這個故事有很多角色，追 UFO 的人、等待麻雀降臨的詩人、聒噪的女人、酗酒的小伙子、失眠的女孩，還有一頭驢。意義很重要，就像在一頭驢眼前，吊着一根能夠驅使牠不停奔走的胡蘿蔔一樣。然而凝視胡蘿蔔，是求而不得的痛苦，撥開胡蘿蔔，又是混沌無邊的虛無。但好在總有一些人，他們盯着眼前的胡蘿蔔，決定開始一次無果而終的冒險。 KONG Dashan was born in Shandong in 1990. Graduating from the directing department of Beijing Film Academy, he now lives and works in Beijing. Journey to the West is his feature debut. 孔大山 1990 年生於山東曲阜，現於北京生活及工作。畢業於北京電影學院導演系，在校期間創作多部短片。《宇宙探索編輯部》是他導演的首部長片。 FILMOGRAPHY 作品年表 2021 Journey to the West 宇宙探索編輯部

Moneyboys 金錢男孩 What did it mean for you to shoot this film? Growing up in the Chinese countryside is linked to so many experiences that are not visible living in Europe, but which I carry within me like a mother tongue that hasn’t been spoken for a long time. Dealing with the world of my homeland gave me confidence and security in my work, because I feel a special connection to the people, their peculiarities and conflicts. To me, the real subject of the film is: what does it take to let go of the past? Would you agree? Letting go of the past or living with it is one of the main subjects in Moneyboys. But I always crafted the story with several subjects in mind. It is for example, also about finding the courage to be happy. Or you don’t always do your fellow human beings and yourself a favour when you sacrifice yourself for them. These are topics I want to deal with in my films and screenplays: To what extent can I be there for others without hurting myself? To what extent do I need to care about myself first in order to be able to do good for others? Interview with C.B. Yi [導演訪問]

對你來說，拍這部電影的意義是什麼？我小時候在中國農村成長的許多經歷，到我後來在歐洲生活時已拋諸腦後，但就像很久沒說過的母語一樣，其實一直都在心裏。拍攝有關家鄉的故事，使我對工作充滿信心和安全感，因為我感到跟家鄉裏的人，以及他們的特點和矛盾，有着特殊聯繫。而我認為，在自己的創作生涯中，至少一次去講述自己的出生地，也是重要的。然而身為導演，我並不想故事被簡化為族裔或文化問題。雖然這是一個年輕人從中國農村到城市謀生的故事，但對我來說，更是關於人際關係的普世故事，可以發生在世界任何地方。我認為這電影的真正主題是：如何放下過去？你同意嗎？放下過去，或是接受過去，是影片其中一個主題。但我總是在構思故事時想到好幾個主題，例如，它也是關於尋找快樂的勇氣，或者，當你為他人犧牲時，你並不總是能幫上別人和自己。這些都是我想在電影和劇本裏處理的題目：待在他人身邊，能有多大程度不傷害自己？為了待他人好，有多大程度我需要先待自己好？ C.B. Yi studied at the Vienna Film Academy under the guidance of Michael Haneke and Christian Berger. Moneyboys is his first feature. 陳熠霖奧地利籍華裔導演，畢業於維也納電影學院，主修導演及攝影，師從米高漢尼卡。《金錢男孩》是他導演的首部長片。 SELECTED FILMOGRAPHY 主要作品 2011 Little Precious ( short) 小寶貝（短片） 2021 Moneyboys 金錢男孩 ©KGP

34 YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2021 | Mandarin | DCP | Colour | 120 min Director C.B. Yi Producer Gabriele Kranzelbinder, Barbara Pichler, Guillaume de la Boulaye, Patrick Mao Huang, André Logie Scriptwriter C.B. Yi Cinematographer Jean-Louis Vialard Editor Dieter Pichler Production Designer Liao Huei-Li Music Yun Xie-Loussignian Sound Yun Xie-Loussignian, Hjalti BagerJonathansson, Karim Weth Cast Kai Ko, Chloe Maayan, Bai Yufan, JC Lin Production KGP Filmproduktion, Zorba, Flash Forward Entertainment, Panache Productions World Sales Totem Films 導演陳熠霖監製 Gabriele Kranzelbinder、 Barbara Pichler 、 Guillaume de la Boulaye、黃茂昌、 André Logie 編劇陳熠霖攝影 Jean Louis Vialard 剪接 Dieter Pichler 美術廖惠麗音樂謝雲音響謝雲、 Hjalti Bager Jonathansson 、 Karim Weth 演員柯震東、曾美慧孜、白宇帆、林哲熹

was

in 1977. He is an active contemporary artist and filmmaker in China. As a filmmaker, his experiments with cinematic language and aesthetics in documentary filmmaking have earned him a reputation as one of China’s most important independent directors. A New Old Play is his first fiction feature. 邱炯炯 1977 年生於中國四川樂山，藝術家，曾就讀北京東方文化藝術學院油畫系，一年後退學，開始職業繪畫生涯。2006 年開始拍攝紀錄片，以個人化的影像敘事風格見稱。《椒麻堂會》是他的首部劇情長片。 SELECTED FILMOGRAPHY 主要作品 2007 The Moon Palace ( docu) 大酒樓(紀錄片） 2010 Madame (docu ) 姑奶奶(紀錄片） 2011 My Mother’s Rhapsody (docu ) 萱堂閒話錄(紀錄片） 2015 Mr. Zhang Believes (docu ) 癡(紀錄片） 2021 A New Old Play 椒麻堂會

The story is inspired by the life of my grandfather, the Sichuan opera clown-role actor Qiu Fuxin. Growing up in the daily reality of an opera troupe, I suppose I had an odd, piecemeal view of this world, seen only from the inside as a moving collage of faces, expressions, voices, gestures, sounds, smells and colours, warm or cold, damp or dry, drunk or sober. The actors’ gestures, crazy, bitter or sincere, their swirling arms and stamping feet, marked the successive scenes in an unfolding play. Meanwhile, events great and small, on and off the stage, shaped the world and our history. But every now and then a knell would sound, and there was one less spectator in the Olderstalls.generations of performers have passed away, and life’s shocks and disruptions have hastened the decline of our Sichuan opera. A century on, I have tried to reconstruct the traditional grammar of the form, to simulate and revive its flavour and its melodies. The film is a slice of my own history and my family’s; but also a travelogue of minstrels wandering together through this world and the next. They are my immediate forebears, and this is my “pre-biography”. Jiongjiong born in Sichuan

35 A New Old Play Jiaoma tanghui 椒麻堂會 YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2021 | Sichuan dialect/Putonghua | DCP | Colour | 180 min Director Qiu Jiongjiong Producer Ding Ding, Yang Jin Scriptwriter Qiu Jiongjiong Cinematographer Feng Yuchao "Robbin" Editor Qiu Jiongjiong Production Designer Qiu Jiongjiong Music Diao Lili Sound Wang Ran Cast Yi Sicheng, Guan Nan, Qiu Zhimin, Xue Xuchun, Gu Tao Production Uluka Productions World Sales Parallax International Sales 導演邱炯炯監製丁丁、楊瑾編劇邱炯炯攝影馮宇超剪接邱炯炯美術邱炯炯音樂刁力力音響王然演員易思成、關南、邱志敏、薛旭春、顧桃

Qiu Jiongjiong [導演的話] 這個故事取材自我祖父，川劇小丑邱福新的一生。川劇團長大的我眼裏看不到川劇，它被肢解和異質了，構成了這裏的日常。神情、語調和步態，顏色、氣味和聲音，溫度、濕度和酒精度──演員過日子，舉手投足間就是一幕幕川劇，癲狂、苦澀、地道，煙火氣刺鼻。百年的生活史，大大小小，就這樣在舞台上下踉蹌展開。然而，哀樂一響，戲票就少一張。演員的死導致了舞台的沒落，生活史的中斷催促着川劇的消亡。一百年後，我試圖模仿川劇的文法去複寫，並模仿川劇的曲牌唱出來。它是一部我的個人史、家庭史、一個川劇劇團百年的生活史；也是一部遊記，各色人等在陽間和陰間同步行腳並遊吟。我是他們的後代，這部遊記就是我的「前傳」。我要用手工的方式在影棚裏重構這段漫長的生活史，用漫畫的手法塑造出時代的元神。帶着電影原初「發明」的喜悅，以默片的養分，做一部天真的電影。天空、山丘、戰場、小城和家……錯落的景片和手工的誇張道具將在虛實相間中復現出這個小人國。人們在塑料布做成的江河上顛簸，騎着茅草編出鬃毛的瘦馬，嚼着棉花做的雲朵，在漫天水霧和煙火中迷失。 QIU

in Film

feature film. 久美成列 1997 年生於青海，父親是著名藏族導演萬瑪才旦。2020 年畢業於北京電影學院導演系，在校期間創作多部短片。《一個和四個》是他的首部劇情長片。 SELECTED FILMOGRAPHY 主要作品 2017 They Make Films on the Plateau (docu ) 他們在高原上拍電影（紀錄片） 2021 One and Four 一個和四個

Films

graduated from

The forest ranger experienced like an evolution from ape-man to modern man. After this evolution, what is waiting for him? Trinley

collection at

Jigme

Jigme Trinley is a Tibetan director and He the son of Tibetan director Pema Tsedan. He the Beijing Film Academy in 2020 with a BA Directing. His documentary They Make on the Plateau (17) in the permanent the Chinese Independent Film (UK). One and Four (21) his debut

[導演的話] 這是一個關於對立和隱喻的故事。故事中的「一」是指護林員，「四」是四個突然打亂他簡單生活的闖入者。他們帶着各自的欲望和動機，擠在護林員的木屋裏，接連暴露出最原始的本性。護林員的遭遇，就像經歷了從猿人到現代人的進化歷程。這次進化以後，等着他的又是什麼？

Archive

screenwriter.

36 YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2021 | Tibetan/Putonghua | DCP | Colour | 88min Director Jigme Trinley Producer Pema Tseden Scriptwriter Jigme Trinley Cinematographer Lv Songye Editor Jin Di Production Designer Daktse Dundrup Music Ding Ke Sound Li Danfeng Cast Jinpa, Wang Zheng, Kunde, Darggye Tenzin, Tsemdo Production/World Sales Mani Stone Pictures 導演久美成列監製萬瑪才旦編劇久美成列攝影呂松野剪接金鏑美術鬥澤東主音樂丁可音響李丹楓演員金巴、王錚、更旦、達傑丁增、才多 One and Four Yige he sige 一個和四個 This is an antagonistic and metaphorical story. The “one” in the story refers to the forest ranger, and “four” to four interlopers who suddenly disrupted his simple way of life. With their own desires and motives, they crowded in the forest ranger’s wooden house, constantly exposing the most primitive nature.

《永安鎮故事集》是一個激情後的意外產物，是一種興奮性的疲倦，是一場夢，是我們最接近電影的時刻。 [導演訪問] 每一章有一個比較核心的人物，這樣的設計是怎樣考慮的？編劇康春雷提出了第一個故事，但當時沒想那麼完整和清晰，就是突然間一個幻影和泡沫被打碎的感覺。然後我想到了第二個故事，成功的女演員回到故鄉一個小鎮，追尋樸素的感覺。第三個故事算是一種平衡。最初的故事和最終呈現的故事之間，有怎樣的關係？我們原本的故事，文學性很強，講的是在永安鎮什麼都不會發生，這個話真的是出現在那個劇本很多次。我就跟康春雷聊，我們能試圖換一句話去總結這個意思人有的時候很難擺脫生活的慣性。就像石子扔到池塘裏，泛開了漣漪，然後恢復平靜，我覺得這是故事最核心的部分。然後當然還有一些其他的，比如我們之前那個故事籌備所花費的錢都成為了道具。導筒 WEI

Film

Interview

Short Film section

魏書鈞 1991 年生於北京，十四歲開始參與演出電視劇。畢業於中國傳媒大學，本科就讀錄音系，研究生就讀導演系。學生短片《延邊少年》 (2018) 獲康城影展短片競賽單元特別表揚。 SELECTED FILMOGRAPHY 主要作品 2018 On the Border (short ) 延邊少年（短片） 2020 Striding Into the Wind 野馬分鬃 2021 Ripples of Life 永安鎮故事集

Ripples of Life is an accidental product of passion, an excited fatigue, a dream, and the closest we come to a movie. Wei Shujun Each chapter has a central character. How did you decide on that concept? Screenwriter Kang Chunlei suggested the first story, but it wasn’t that complete and clear at the time; it felt like a shadow and bubble suddenly being shattered. Later, I came up with the second story, about the successful actress returning to her hometown in search of simplicity. The third story can be considered a balance between the two. What is the relationship between the initial story and what was realised in the end? Our original story was very literary; it said that nothing will happen in Yong’an. In fact, that line appeared in the script many times. So, I suggested another way of summing up the story to Kang Chunlei – Sometimes, it’s hard to people to be rid of life habits. When a rock is thrown into a pond, ripples are created. However, the pond eventually becomes calm again. I think this is the core of the story. There are other things as well. For example, the money we spent on preparing the previous story became props. with Wei Shujun [導演的話] Shujun was born in Beijing in 1991. He began his career in TV drama as an actor when he was 14. He graduated from Communication University of China, majoring in Directing and Sound Engineering. His graduation short, On the Border won Jury in the at Cannes Festival in 2018.

Distinction

37 YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） Ripples of Life Yong’anzhen gushiji 永安鎮故事集 2021 | Putonghua/Hunan dialect | DCP | Colour | 123min Director Wei Shujun Producer Huang Xufeng, Liang Ying Scriptwriter Kang Chunlei, Wei Shujun Cinematographer Wang Jiehong Editor Mathieu Laclau Production Designer Zhang Menglun Sound Tu Duu-Chih, Tu Tse-Kang Cast Yang Zishan, Huang Miyi, Liu Yang, Kang Chunlei Production Factory Gate Films World Sales Rediance 導演魏書鈞監製黃旭峯、梁穎編劇康春雷、魏書鈞攝影王階宏剪接馬修美術張夢倫音響杜篤之、杜則剛演員楊子姍、黃米依、劉洋、康春雷

Special

38 YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） USA / The Netherlands 美國／荷蘭 2022 | | DCP | Colour | 104min Director Lei Lei Producer Lei Lei, Isabelle Glachant Scriptwriter Lei Lei Animation Lei Lei Editor Lei Lei, Patrick Minks Music Tessa Rose Jackson, Darius Timmer Sound Tessa Rose Jackson, Darius Timmer Production C Ray Studio, Chinese Shadows World Sales Asian Shadows 導演雷磊監製雷磊、 Isabelle Glachant 編劇雷磊動畫雷磊剪接雷磊、 Patrick Minks 音樂 Tessa Rose Jackson 、 Darius Timmer 音響 Tessa Rose Jackson 、 Darius Timmer Silver Bird and Rainbow Fish Di-erge he di-sange mama 第二個和第三個媽媽 What inspired you to make this film? Once I went back to my hometown. I happened to open a magazine called “Old Photographs”. There I found an article by my father entitled “The Changes in My family” with a few old photos. I was amazed and read the article carefully as those stories of my family are not really familiar to my generation. This article is actually the original inspiration for the film. […] When I read the article, I was so interested that I started to interview my grandfather. That was in 2012 or 2011. I recorded the conversation with the cell phone I had at the time. So part of the sound that we have in the film now comes from a recording that was made ten years ago. Our generation grew up in an era of world peace and economic development in China. We did not experience the same historical turmoil as our parents’ generation. […] But where are our roots? About our own family, what is its history? It seems that our generation doesn’t care. […] in the films of the young generation, many of the stories are floating on the surface of life. Actually, the reason why we make current choices and why there are many entanglements in the family relationship comes from the historical waves, which are all reflected in us. So, based on this, I decided to start this film project. Interview with Lei Lei [導演訪問] 此片靈感從何而來？我有次回鄉，偶然打開一本叫《舊照片》的雜誌，看到我父親一篇題為「家族的變遷」的文章，還有些舊照片。我很好奇，細閱文章，因為我這一代並不熟識家族的故事。此文章正是影片的靈感來源……我很感興趣，開始訪問祖父。那是 2012 或 2011 年，我用手機錄下對話，遂成為了片中聲音一部分。我們這一代成長於太平盛世，沒經歷過父輩身處的歷史動盪……不過，我們的根在哪裏？我們自己的家庭如何，家族史又怎樣？我們這一代好像毫不關心。上一代導演的電影如張藝謀的《活着》及陳凱歌的《霸王別姬》，都關乎時代變遷，但年輕一代的電影，往往只是浮於人生表面。事實上，我們現在的選擇以及家庭關係的糾結，究其原因都是來自歷史浪潮，它一一反映在我們身上。因此我決定製作這電影。此片不止是動畫，更是一部基於口述歷史的紀錄片。你如何為影片定義？我會說是一部散文電影……我希望邀請觀眾進入雷磊的腦袋，透過其眼睛看歷史。在影片中我們聽到真實的訪問，但看到的卻是戲劇性的，可以是錯的，也可以是幻想的。觀眾可以想像記憶是否真確。我想這正是動畫美麗之處，給予觀眾空間及權利去解讀影像。 LEI Lei was born in 1985 in Nanchang, China. After graduating from Tsinghua University in 2009 with a Master’s degree in Animation, he worked as an independent filmmaker and experimental animation artist. Some of his short animation films were selected in international festivals. Silver Bird and Rainbow Fish is his first feature animation film. 雷磊 1985 年生於中國南昌市。2009 年在清華大學取得動畫碩士學位後，成為獨立電影人及實驗動畫師。不少動畫短片入圍各大電影展，紀錄片《動物方言》(19 )曾在柏林論壇放映。《第二個和第三個媽媽》是其首部動畫長片。 SELECTED FILMOGRAPHY 主要作品 2013 Recycled (short) 照片回收（短片） 2014 This is Not a Time to Lie (short) 這不是一個可以說謊的時刻（短片） 2019 Breathless Animals (docu ) 動物方言（紀錄片） 2022 Silver Bird and Rainbow Fish 第二個和第三個媽媽

故事靈感源自 2013 年的一宗奇案大角咀雙屍案。除了案件本身在道德上的轟動，其法庭審訊部分也充滿了戲劇性。案中的兩名被告，一名以高智商自居，另一名則以愚鈍無知示人，天才與白痴的角力引人入勝。在資料搜集的過程中，最令我感興趣的是關於法庭的存在意義，到底法庭是一個尋找真相和正義的地方，還是一個表演舞台？誰可以說服陪審團誰便能逃過入獄的命運。律師們的策略、被告及證人在庭上的表現等等，也一一影響着判決的結果。《正義迴廊》除了從兩位被告的角度出發，也包含了律師、一眾證人、警方及陪審團的視角，敘事以多線發展，讓觀眾進入這個曲折而充滿戲劇性的審判，從而思考法律、真相與正義的關係。 HO Cheuk-tin graduated from Hong Kong Academy for Performing Arts with a major in directing. Since graduation he has participated in a number of productions and directed Payback (2015) for the TV series Below the Lion Rock at Radio Television Hong Kong. The Sparring Partner is his first feature film. 何爵天畢業於香港演藝學院，主修導演。畢業後參與不同類型製作，曾執導港台電視劇《獅子山下》之〈高價收購〉( 2015)。《正義迴廊》為其首部劇情長片。 FILMOGRAPHY 作品年表 2022 The Sparring Partner 正義迴廊 Persons Aged 18 and Above Only 只准18歲或以上人士

The Sparring Partner is based on a true murder case, the Tai Kok Tsui double homicide. The court case that followed was just as dramatic as the gruesome murder. Two defendants, one genius and one idiot, were pitted against each other in the courtroom. During my research I reflected upon the meaning of the court. Is it a place where the truth is revealed and justice is done? Or is it a stage where one escapes fate by putting on a show in front of the jury? The verdict hinges on the lawyer’s strategy, the defendants’ and the witnesses’ performances. The title presents not just the story from the perspective of the two defendants, but also the lawyers, witnesses, police, and the jury. Multiple narrative threads run through the film, presenting the complex and dramatic court case as an anecdote calling for a critical reflection on the law, the notion of the truth, and the meaning of justice. Ho Cheuk-tin [導演的話]

39 YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） The Sparring Partner 正義迴廊 2022 | Cantonese | DCP | Colour | 135 min Director Ho Cheuk-tin Producer Philip Yung Scriptwriter Tam Kwong-yuen, Oliver Yip, Thomas Leung Cinematographer Leung Yau-cheong Editor J.Him Lee, Zhang Zhao, Jojo Shek Production Designer Ida Mak Music Sara Fung Cast Alan Yeung, Mak Pui-tung, Louisa So, Jan Lamb Sound Tu Duu-Chih, Chiang Yi-Chen Production Fierce Urchin Production Limited World Sales Mei Ah Entertainment Group 導演何爵天監製翁子光編劇譚廣源、葉偉平、梁永豪攝影梁祐暢剪接李謙明、張釗、石繕滎美術麥芷筠音樂馮之行音響杜篤之、江宜真演員楊偉倫、麥沛東、蘇玉華、林海峰

website.

FIPRESCI PRIZE JURY 國際影評人聯盟獎評審團

Massimo LECHI is a film and theatre critic, and festival correspondent from Genoa, Italy. While studying Literature at the University of Genoa, he started writing reviews, interviews and festival reports for Italian and English-language magazines. In 2012 he published his first book and became a freelance lecturer in film and theatre history. A member of the SNCCI, he served as president of the FIPRESCI Jury at the Mannheim-Heidelberg International Filmfestival in 2014, at the Thessaloniki Documentary Festival in 2015 and at the Istanbul Film Festival in 2018 and in 2021. members for Cannes, Berlin, Venice, Rio, and Miami film festivals. He has a Master’s degree in aesthetics filmology, and is currently pursuing his Ph.D. in Film Heritage.

保羅波圖高從事電影採訪工作超過三十年，曾報導聖塞巴斯蒂安、羅迦諾、倫敦、多倫多、東京及其他主要電影節，亦曾任康城、柏林、威尼斯、里約及邁阿密電影節的國際影評人聯盟獎成員。他擁有美學及電影學碩士學位，現正進修電影遺產博士。

, Film

Hsiao-Hsien’s masterpiece into Persian, and has also

馬施莫萊基來自意大利熱那亞的影評兼劇評人，以及電影節特派員。在熱那亞大學主修文學時，開始為意大利及英語雜誌撰寫評論、訪問及電影節報告。2012 年出版首部著作，並成為電影及戲劇史兼職講師。意大利影評人協會成員，於 2014 年的曼海姆－海德堡國際電影節、2015 年的塞薩洛尼基國際電影節、2018 年及 2021 年的伊斯坦堡電影節擔任國際影評人聯盟獎評審團主席。 Paulo PORTUGAL is a film journalist for over three decades. Over the years, he has covered some of the main festival events, such as San Sebastián, Locarno, London, Toronto, Tokyo, and many others. Also serving as FIPRESCI Prize

the book Luminous Void:

Years of Experimental Film Society 雅莎迪賈法莉身兼影評人、作家及翻譯，駐伊朗德黑蘭，為伊朗不同電影雜誌、報章及期刊定期撰文。她以英語書寫關於環球電影的文章，見於 Cinema Scope、Film Comment、 Reverse Shot 、LOLA 及多倫多國際電影節網頁。她曾將貝雷妮絲雷諾論述侯孝賢經典《悲情城市》的著作翻譯成波斯文，並為 Luminous Void: Twenty Years of Experimental Film Society 一書撰寫文章。 40

and

Azadeh JAFARI is a film critic, writer, and translator based in Tehran, Iran. She regularly contributes to different film magazines, newspapers and journals in Iran. Her English writings on world cinema have appeared in Cinema Scope Comment, Reverse Shot, LOLA, and Toronto International Film Festival She has translated Berenice Reynaud’s book A City of Sadness on Hou contributed to Twenty

資助 Supported by FIREBIRD AWARDS 火鳥大獎 Young Cinema Competition (World) 新秀電影競賽（世界）

YOUNG CINEMA COMPETITION (WORLD) JURY 新秀電影競賽（世界）評審團

徐寬影評人兼電影發行，現為寰亞總經理兼銷售及跨國製作主管。他是美國電影藝術與科學學院成員，曾任洛杉磯的獨立影視聯盟董事局成員，主管電視節目策劃及採購，並促成世界首項商業自選影像點播服務的誕生。八十年代於美國在學期間開始為香港雜誌撰寫影評，並曾為世界各地不少電影節擔任評審。

Niki KARIMI is prominent Iranian producer, director and actress. She began her work as an actress and won Best Actress awards at San Sebastian and Nantes film festivals. In 2004, she made her first feature film, One Night, which was presented at Un Certain Regard at Cannes, and went on to produce and direct four more feature films which have been screened and awarded at prestigious film festivals around the world. She has served on the jury at several international film festivals including Cannes, Berlinale, Tribeca and

許維文電影製片，亦是東南亞劇本工作坊 ( SEAFIC ) 的聯合創辦人兼行政總監。曾擔任多倫多國際電影節及多倫多亞裔國際電影節的國際選片人，同時是香港國際電影節和康城影評人周的節目顧問。他身兼香港亞洲電影投資會的評審委員，且是亞洲電影大獎的顧問成員。作品包括《維多利亞壹號》（2010，聯合製片人）、《頭中彈》（2011）、《香港仔》（2015 ，聯合製片人）、《身後仕》（2016）、《蘇梅女星殺夫事件》（2017 ）及《Thirteen Lives》（2022，聯合製片人）。 Frederick TSUI is a film critic and film distributor. He is currently General Manager and the head of sales and international co-production at Media Asia. A member of the Academy of Motion Pictures Arts and Sciences and a previous board member of the Independent Film & Television Alliance in Los Angeles, he was in charge

Locarno. 妮琦卡蓮美伊朗著名監製、導演兼演員。演員出身，曾於聖塞巴斯蒂安電影節及法國南特電影節榮獲最佳女演員獎。2004 年執導首部劇情長片《一夜》，入選康城影展「某種觀點」。其後監製及執導的四部作品，在世界各地主要電影節屢獲殊榮。她曾為多個國際電影節擔任評審，包括康城、柏林、翠貝卡及羅迦諾等。 43

Raymond PHATHANAVIRANGOON is a film producer who served as cofounder and Executive Director of Southeast Asia Fiction Film Lab (SEAFIC). He was international programmer for Toronto International Film Festival and Toronto Reel Asian Film Festival, as well as Programme Consultant for Hong Kong International Film Festival and Cannes Critics’ Week. He acted as Reading Committee Member for Hong Kong-Asia Film Financing Forum and was advisory member of Asian Film Awards. Titles he produced include Dream Home (2010, co-producer), Headshot (2011), Aberdeen (2015, co-producer), Apprentice (2016), Samui Song (2017) and Thirteen Lives (2022, co-producer). of TV programming and acquisitions before spearheading the launch of the world’s first commercial VOD service. He started writing film reviews in the 80’s for Hong Kong magazines while studying in the US, and has since been on the jury in many film festivals worldwide.

44 YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Germany 德國 2022 | German | DCP | Colour | 112 min Director Jöns Jönsson Producer Amir Hamz, Christian Springer, Fahri Yardim Scriptwriter Jöns Jönsson Cinematographer Johannes Louis Editor Stefan Oliveira-Pita Production Designer Claudia Steinert Music Pia Hoffmann Sound Paul Rischer, Martin Steyer, Michael Schlömer Cast Moritz Treuenfels, Ricarda Seifried, Thomas Schubert Production Bon Voyage Films World Sales The Playmaker

I got the idea for Axiom from a short anecdote a friend told me many years back. Somebody he knew had a new colleague who always had something interesting to say. A charismatic, sympathetic guy whom you’d be happy to be friends with. One day he invited his colleagues to go sailing but the trip never took place. It then took a while longer till they found out there was something up with the guy. Axiom is a film about the human condition, as I see it, boiled down to that one phrase “Fake it till you make it”, which for me is a very striking description of our human behaviour from birth to death. My fascination with a person who is, in a contradictory way, so connected with his environment and yet so isolated from it, made me start thinking about this matter. Eventually, it took me to a point where I had to question any kind of ‘true identity’, in line with the views of writer Luigi Pirandello, suggesting we all invent a new identity for each new person we meet. Jöns Jönsson

[導演的話] 拍攝本片的意念，源於多年前一位朋友跟我說的一件小趣事。他朋友有個新同事，總是妙語如珠，有魅力，又富同情心，令人樂於結交。有天他邀請其他同事一起出海，但一直沒有成事。過了一段時間，大家才發現這個人有古怪。本片關於人的境況，在我看來，可歸結為「弄假直至成真」，是對人類由出生到死亡之間的行為異乎尋常的描述。我對這個矛盾地跟其環境如此連在一起又如此孤立的人着迷，令我開始思考這事，以致令我完全不得不質疑所有「真實身份」，這與作家皮蘭德婁的觀點一致，意味我們每遇上一個新認識的人，都會為自己創造一個新的身份。 Jöns JÖNSSON was born in Stockholm 1981. In 2006, he started studying directing at the film school Filmuniversität Babelsberg Konrad Wolf in Germany. Axiom is his second feature film. 楊斯楊遜 1981 年生於瑞典斯德哥爾摩，2006 年入讀德國巴伯爾斯貝格電影學院。《吹神的法則》是他的第二部長片。 SELECTED FILMOGRAPHY 主要作品 2008 The Sea (short ) 海（短片） 2014 Lamento 哀嘆 2022 Axiom 吹神的法則 ©Anna Intemann

Axiom 吹神的法則

除了死亡，大自然一直是我最大的導師和靈感來源。無論是建築、藝術、講故事，還是生活本身，在我瀏覽的每種媒介，大自然始終是最主要的救星，是這無限宇宙不可避免的指南針。它的無窮無盡與無數驚喜，一直吸引着我。山巒、海洋、樹葉、昆蟲、雨水的吸引力、草尖上的一滴露珠，從宏觀到微觀，大自然處處展現其美麗。有一天，意想不到地，在炎熱晴天，有一片雲給了我遮蔭。就在那天，這部電影的意念誕生了。這是一個不懂社交的人的旅程，回歸大自然，回到萬物伊始的地方，是對純潔的追求。這也是一場電影之旅，讓觀眾昇華，進入了人與大自然雷同的另類現實，就像古時候一樣。 Abhinandan BANERJEE was born in India in 1992. An admirer of anything surreal, fantastic and paranormal, he dropped out of college to pursue filmmaking. He is a film director, scriptwriter, author, essayist, magazine editor, publisher, illustrator, painter and graphic designer. The Cloud & the Man is his feature debut. 阿比南丹班拿哲 1992 年生於印度，身兼導演、編劇、作家、散文家、雜誌編輯、出版人、插畫家、畫家及平面設計師，崇尚超現實、奇幻和超自然事物，從大學退學全心投入電影創作。《迷雲記》是他執導的首部長片。 FILMOGRAPHY 作品年表 2021 The Cloud & the Man 迷雲記

Abhinandan Banerjee [導演的話]

45 YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） The Cloud & the Man Manikbabur Megh 迷雲記 India 印度 2021 | Bengali | DCP/Online | Colour/B&W | 96 min Director Abhinandan Banerjee Producer Bauddhayan Mukherji, Monalisa Mukherji Scriptwriter Abhinandan Banerjee Cinematographer Anup Singh Editor Abhro Banerjee Production Designer Monalisa Mukherji Music Subhajit Mukherjee Sound Abhijit (Tenny) Roy Cast Chandan Sen, Debesh Roy Chowdhury, Arun Guhatharkurta, Bratya Basu, Nimai Ghosh, Production Little Lamb Films World Sales Outsider Pictures Apart from death, nature had always been the greatest mentor and inspiration for me. Be it architecture, art, storytelling or life itself... nature was always the primary rescuer in every medium I perused. The unavoidable compass in this infinite universe. It kept attracting me through her umpteen thresholds and surprises. Mountains, oceans, leaves, insects, the charm of rain, a drop of dew on a blade of grass - from macro to micro - she showed her beauty in everything. One day the unthinkable happened, a cloud gave me shelter on a hot sunny day. That very day, The Cloud & the Man was born. The Cloud & the Man is the journey of a socially unfit man, going back to nature – where it all began. A pursuit towards purity. This film is a cinematic journey to transcend viewers into an alternate reality where man and nature are synonymous – just like old times.

女子健美現象十分複雜，象徵了我們時代的沮喪。伊甸娜的身體承載了她的焦慮，而在她健碩肌肉和奇異生涯裏，體現了其掙扎與慾望。伊甸娜擁有的健美身體凸顯了健美的弔詭：當健美的終極目標是要表現肉身的內在力量時，她卻日復日摧毀自己的身體。為了追求完美，伊甸娜逐漸枯萎了。我們在台上看見那體現巔峰狀態的健美選手，實際上卻是瀕臨死亡邊緣的脆弱女子。伊甸娜和阿當之間的關係類似《科學怪人》的故事。作為「科學怪人」，伊甸娜同樣透過墮入愛河發現了人性。悲劇的是，單方面的愛戀感覺，反而愈令她陷入普遍的孤獨，把她驅回創造她的「主人」身邊。《殘酷的溫柔》是一部「身體電影」，着重純粹影像，迴避諷喻的風格化處理。演員都是真實的健美運動員。我們集中探索畫面構圖的彈性與身體運動，察看身體的相對關係和特性如何說明情緒。透過開展伊甸娜的情緒敘事線，我們處理的正是對愛和身份的渴望。

Anna NEMES was born in 1989, and graduated in from the Hungarian University of Fine Arts, where she is currently a doctoral researcher. Gentle her first feature

painting

46 YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Hungary/Germany 匈牙利／德國 2022 | Hungarian | DCP | Colour | 92 min Director László Csuja, Anna Nemes Producer András Muhi, Gábor Ferenczy Scriptwriter László Csuja, Anna Nemes Cinematographer Zágon Nagy Editor Attila Csabai Production Designer Anna Nyitrai Sound Gábor Császár Cast Eszter Csonka, György Turós, Csaba Krisztik Production Focusfox World Sales Films Boutique

Gentle Szelíd 殘酷的溫柔 The female bodybuilder phenomenon is complex. It symbolises the frustrations of our times. Edina’s body is the host of her anxieties; her struggles and desires materialise in her enormous muscles and bizarre life. Edina’s possessed aestheticism highlights the paradox of bodybuilding: while the ultimate goal is to manifest inner strength in the flesh, week by week, she has to destroy herself in pieces. Chasing perfection, Edina slowly withers: the female bodybuilder we see on stage in her highest magnificence, is actually a fragile woman swagging on the brink of death.

László CSUJA was born in 1984, and graduated from the Academy of Film and Drama in Budapest. His first feature, Blossom Valley (2018), won the Jury Prize at Karlovy Vary

film. 安娜妮美絲 1989 年生於匈牙利，2014 年畢業於匈牙利藝術大學，主修繪畫。現於匈牙利藝術大學攻讀博士學位。《殘酷的溫柔》是她首部合導的劇情片。

IFF. 拉索洛祖雅 1984 年生於匈牙利，2012 年畢業於布達佩斯電影及戲劇學院。首部劇情片《繁花谷》( 18)於捷克卡羅維法利電影節首映，贏得評審團大獎。 FILMOGRAPHY 作品年表 2022 Beauty of the Beast (docu ) 野獸之美（紀錄片） 2022 Gentle (co-dir ) 殘酷的溫柔（合導） FILMOGRAPHY 作品年表 2018 Nine Months War ( docu) 九個月的戰爭（紀錄片） 2018 Blossom Valley 繁花谷 2022 Gentle (co-dir ) 殘酷的溫柔（合導）

Edina and Adam’s relationship is similar to the story of Dr Frankenstein. As Frankenstein’s monster, Edina also discovers her humanity through the experience of falling in love. Tragically, this unrequited feeling highlights her universal loneliness and drifts her back to her creator. Gentle is a “body-film” which operates with pure images and avoids any satirical stylisation. Our main characters are real bodybuilders. We focused on the exploration of the plasticity and the body movement for the composition of the frame. We are concentrating on how the characteristics and comparative relationship of bodies express emotional statements. László Csuja and Anna Nemes [導演的話]

自從烏俄邊境的戰爭開始，我就不禁想起那裏的婦女和兒童。當然，我無法阻止戰爭，但對於一個生活在軍事佔領狀態下的家庭，無論如何都為了生存而奮鬥，我想表達我對此的感受。這部電影的立場是反對人類製造的戰爭機器。此外，這是一個夢，夢想着一個沒有戰爭的早晨。

Since the war started on the Russian-Ukrainian border, I can’t help but think of the women and children there. Of course, I cannot stop the war, but I would like to express my feelings about the struggle of a family living under occupation to survive no matter what. Klondike is a stand against the war machine artificially created by humans… And also… it is a dream of a morning without war.

Maryna Er Gorbach [導演的話]

Maryna ER GORBACH

was born in 1981 in Ukraine. After studying in Kyiv National I.K. Karpenko-Kary Theatre, Cinema & Television University, she graduated from Andrzej Wajda Master School of Film Directing (Poland). She has been a member of the European Film Academy since 2017. 瑪蓮娜艾爾戈巴赫 1981 年生於烏克蘭，先後畢業於基輔國立戲劇影視大學及波蘭華意達電影學院。2017 年開始成為歐洲電影學院成員。憑個人執導的《頓巴斯戰火孕記》獲柏林影展天主教人道精神獎及辛丹斯電影節最佳導演獎。 SELECTED FILMOGRAPHY 主要作品 2009 Black Dogs Barking (co dir ) 被剝皮的黑狗（合導） 2013 Love Me ( co dir ) 愛我（合導） 2019 Omar and Us (co dir ) 奧馬爾和我們（合導） 2022 Klondike 頓巴斯戰火孕記

47 YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Klondike 頓巴斯戰火孕記 Ukraine/Turkey 烏克蘭／土耳其 2022 | DCP/OnlineUkrainian/Russian/Chechen/Dutch | Colour | 100 min Director Maryna Er Gorbach Producer Maryna Er Gorbach, Mehmet Bahadir Er, Sviatoslav Bulakovskyi Scriptwriter Maryna Er Gorbach Cinematographer Sviatoslav Bulakovskyi Editor Maryna Er Gorbach Production Designer Mariia Denysenko, Vitalii Sudarkov, Andrii Hrechyshkin Music Zviad Mgebry Sound Srdjan Kurpjel Cast Oxana Cherkashyna, Sergiy Shadrin, Oleg Scherbina, Oleg Shevchuk, Artur Aramyan, Evgenij Efremov Production Kedr Film, Protim VP. World Sales ArtHood Entertainment

Interview

It came from an imbroglio of many things. First, there is the theme of influence and control, which is personal to me. Then, during the making of my last short film Snatched, I spent some time immersed in an emergency reception centre for teenagers; what struck me was that all the children for proven abuse continued to stand with their families, claiming that the justice system was unjust to have placed them there. I followed two of these kids for years, leading me to discover their journey from family separation to “liberation”.

In addition, a friend of mine had a father who was a youth worker, whose job was to take children suspected of abuse out of their homes and into care. One day, this youth worker had to deal with a 6-year-old girl living alone with her father on suspicion of incest; he found himself faced with this hyper-sensualised and sexualised little girl who was in a game of seduction with him. This is how the idea of Dalva was born. I asked myself: what would have become of this little girl at the age of 12, at the age of puberty and first love? with Emmanuelle Nicot

48 YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Belgium/France 比利時／法國 2022 | French | DCP | Colour | 83 min Director Emmanuelle Nicot Producer Julie Esparbes, Delphine Schmit Scriptwriter Emmanuelle Nicot Cinematographer Caroline Guimbal Editor Suzana Pedro Production Designer Catherine Cosme Music Frédéric Alvarez Sound Fabrice Osinski, Valérie Ledocte, Aline Gavroy Cast Zelda Samson, Alexis Manenti, Fanta Guirassy Production Hélicotronc, Tripode Productions World Sales mk2 Films

Love According to Dalva Dalva 錯愛的教育 Where did you get the idea for Love According to Dalva?

[導演訪問] 影片的意念從何而來？它來自於很多事情交織而成的複雜局面。首先，關注影響和控制這個主題，我有私人原因。然後，在拍攝我上一部短片《讓我們走吧》期間，我花了一些時間投入於一個青少年緊急收容中心，令我震驚的是，所有被證實受到家庭虐待的兒童，仍選擇站在家人那邊，認為司法制度將他們安置在收容中心是不公平的。我跟隨其中兩個孩子多年，令我得悉他們從與家人分離到「解放」的旅程。此外，我朋友的父親從事協助青少年的工作，將涉嫌受到家庭虐待的兒童帶離家門，令他們得到照顧。有天，他要處理的個案，是一名六歲女童，她與涉嫌亂倫的父親相依為命，他發現自己面對的，是個過於性感、被性慾化並懂得誘惑他的小女孩。本片的想法由此而來。我不禁想：當這個小女孩到了十二歲，到了青春期和初戀的年齡時，她會怎麼樣？ Emmanuelle NICOT was born in 1985 in Sedan, France. She graduated from the IAD Film School (Institut des Arts et de Diffusion) in Leuven, after first studying modern literature. Love According to Dalva is her first feature film. 艾曼妞妮歌 1985 年生於法國色當市，起初修讀現代文學，後畢業於比利時魯汶的藝術傳播學院電影學院，《錯愛的教育》是她的首部劇情長片。 SELECTED FILMOGRAPHY 主要作品 2012 Rae (short ) 夏玲（短片） 2016 Snatched ( short) 讓我們走吧（短片） 2022 Love According to Dalva 錯愛的教育

About the title: This disease affects people living in the Mediterranean area, it is a disease connected to that place. But the film talks about other diseases: political, social and psychological diseases. I wanted to give a specificity to this particular place through this specific disease. It’s as if this disease is actually a real one in the movie, but in fact what I’m concerned about are those other diseases, those that are not examined in a medical lab or left undiagnosed and untreated. of The Time That Remain (2009) by Elia Suleiman and The Attack (12) by Ziad Doueiri. Mediterranean Fever is her second feature.

49 YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Mediterranean Fever 地中海鬱到病 Palestine/Germany/France/Cyprus 巴勒斯坦／德國／法國／塞浦路斯 2022 | Arabic | DCP | Colour | 108 min Director Maha Haj Producer Baher Agbariya, Martin Hampel, Thanassis Karathanos, Juliette Lepoutre, Pierre Menahem, Marios Piperides, Janine Teerling Scriptwriter Maha Haj Cinematographer Antoine Héberlé Editor Véronique Lange Production Designer Andreas Antoniou Music Munder Odeh Sound Jorg Weimann, Adrian Baumeister, Florian Marquardt, Henry Uhl Cast Amer Hlehel, Ashraf Farah, Anat Hadid, Samir Elias, Cynthia Saleem, Shaden Kanboura Production Pallas Film, Still Moving, AMP Filmworks, Majdal Films World Sales Luxbox

Maha Haj [導演的話] 我是個既處於憂鬱狀態又帶着幽默感的導演。這令我寫了一部有關華烈的驚慄劇，他是一位長期抑鬱並有志成為作家的四十歲男子。透過這個虛構的男性角色，我將自己的觀點及平日所想推向了極端。我熟知他的性格。透過這個與我相似但又截然不同的人物，我對自己的陰暗面作出嘲諷。在把玩生死主題時，我把他帶到了我永遠不敢達到的極端。我的首部長片《他們這一家》描寫生活在以色列、約旦河西岸以及流放中的巴勒斯坦人。身為巴勒斯坦人的複雜性，令他們遭到挫折，感到禁閉和絕望，這與華烈身為住在海法的巴勒斯坦人所感到的挫折及禁閉雷同。關於片名：這種疾病影響居住在地中海地區的人，是一種與該地區相關的疾病。但這部電影談及我們的其他疾病：政治的、社會的和心理的病。我想透過這種特定的病，標示出這個特定地方的獨特性。就好像這個病在電影裏真實存在，但實際上我關心的是那些其他的病，那些沒有在醫學實驗室檢驗過的，沒有得到診斷，以及沒有得到治療的病。 Maha HAJ was born in Nazareth in 1970. She graduated from the Hebrew University of Jerusalem in English and Arabic literature. Her cinematic experience was derived from her work as an artistic designer in the productions

My first film, Personal Affairs, expressed the identity of Palestinians living in Israel, on the West Bank, and in exile. The characters suffered from [...] the very same frustration and imprisonment from which Waleed, as a Palestinian living in Haifa, suffers.

I am a filmmaker who has a melancholic state of mind along with a sense of humour. This led me to write a thriller-drama about Waleed, a 40-year-old aspiring writer suffering from chronic depression. Through this fictional male character, I pushed my opinions and daily thoughts to extremes. I know Waleed’s character and I am familiar with it. I developed a mockery of my dark side through a person who is similar yet different from me. While playing with life and death themes, I took Waleed to extremes that I never would have dared to reach.

瑪哈哈芝 1970 年生於拿撒勒，畢業於耶路撒冷希伯來大學，主修英文及阿拉伯文學。曾擔任伊利亞蘇里曼《這事不能說太細》( 2009) 及薩德杜里《炸彈枕邊人》(12 ) 的美術設計，因而晉身電影行業。《地中海鬱到病》是她的第二部長片。 SELECTED FILMOGRAPHY 主要作品 2009 Oranges (short) 橙（短片） 2010 Within These Walls (short ) 牆內（短片） 2016 Personal Affairs 他們這一家 2022 Mediterranean Fever 地中海鬱到病

Interview with Michael Koch [導演訪問]

I wanted to set my story in a mountain world that is more interesting than the postcard image many have in mind when they think of Switzerland. Life in the mountains is rarely just lovely, it’s often harsh and brutal. The valley we shot in is narrow, the slopes steep, the work hard. In winter, the village church lies in the shade for a month because the sun does not rise over the top of the mountain. Such a place radiates a completely different energy for me than a pretty village in a mountain idyll dressed up for tourists. I was also looking for a place where people live primarily from alpine agriculture and not the usual tourism. I think this makes their relationship to nature, to the land they work so hard to cultivate, closer and more intense. In essence, the film revolves around the issue of how our relationship with nature influences our approach to death, to being ill. So to this end, a place where the force of nature can be felt directly seemed very interesting to me.

很多人想到瑞士，都想到那種明信片畫面，我就想把故事設定在更有趣的山區世界。山區生活很少是純粹快樂，往往是艱苦和殘酷的。我們拍攝的山谷狹窄，斜坡陡峭，工作耗費體力。冬天的時候，因為太陽沒有從山頂升起，村裏的教堂整整一個月都在陰暗裏。這樣的地方對我來說，比起一個為吸引遊客而佈置過的美麗山區田園村莊，散發出截然不同的能量。我也在尋找一個人們主要以高山務農為生的地方，而不是一般依靠旅遊業的地方。他們辛勤耕種，我認為這令他們與大自然的關係更密切更強烈。從本質上說，這部電影所圍繞的，是我們與大自然的關係如何影響我們面對死亡和疾病的態度。所以為此，一個可以直接感受到大自然力量的地方，很能引起我的興趣。任何在山區長大的人都會意識到，大自然始終總是比我們強大。雪崩、暴風雪、泥石流，都見證了這種力量。高山上的人必須面對它，置身於這些自然力量的險境下。我相信這些經歷塑造了我們，這在我們的生活態度以及我們面對困難的時候，變得顯而易見。當然，相比於山脈，相比這個自古存在的世界，我們的存在顯得微不足道。 Michael KOCH was born in 1982 in Lucerne, Switzerland. He graduated from the Academy of Media Arts Cologne. A Piece of Sky is his second feature film. 米高柯赫 1982 年生於瑞士琉森，畢業於科隆媒體藝術學院。《冬日蒼穹》是他執導的第二部長片。 SELECTED FILMOGRAPHY 主要作品 2006 Beckenrand (short ) 池畔（短片） 2009 Polar (short ) 兩極（短片） 2016 Marija 瑪利亞 2022 A Piece of Sky 冬日蒼穹 ©hugofilm Armin Dierolf ©Bernhard Keller

A Piece of Sky Drii Winter

50 YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Switzerland 瑞士 2022 | German/English/French DCP | Colour | 136 min Director Michael Koch Producer Christof Neracher Scriptwriter Michael Koch Cinematographer Armin Dierolf Editor Florian Riegel Production Designer Sara Giancane Music Tobias Koch, Jannik Giger Sound Tobias Koch Cast Michèle Brand, Simon Wisler, Elin Zgraggen, Daniela Barmettler, Josef Aschwanden Production Hugofilm Features World Sales New Europe Film Sales

冬日蒼穹

Alejandro LOAYZA GRISI was born in 1985 in La Paz, Bolivia. In 2010, he began working as a still photographer and entered the world of cinema through cinematography. As a director of photography, he has worked on the documentary series Planeta Utama his feature film directorial debut.

阿歷恩曹洛亞薩傑西 1985 年生於玻利維亞拉巴斯，畢業於玻利維亞天主教大學傳理系，並於阿根廷修讀廣告，2010 年開始從事拍照工作，因攝影進入電影行業，擔任攝影師。《無雨問蒼天》是他執導的首部長片。 FILMOGRAPHY 作品年表 2022 Utama 無雨問蒼天

Bolivia, and numerous short films.

51 YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Utama 無雨問蒼天 Bolivia/Uruguay/France 玻利維亞／烏拉圭／法國 2022 | DCP/OnlineQuechua/Spanish | Colour | 88 min Director Alejandro Loayza Grisi Producer Santiago Layza Grisi, Federico Moreira Scriptwriter Alejandro Loayza Grisi Cinematographer Barbara Alvarez Editor Fernando Epstein Production Designer Valeria Wilde Music Cergio Prudencio Sound Federico Moreira, Fabián Oliver Cast José Calcina, Luisa Quispe, Santos Choque Production Alma Films, La Mayor Cine World Sales Alpha Violet

Utama is a cautionary tale. Elderly people can represent a lost consciousness and a wisdom that is seldom heard. They can represent the warnings we overlook. The characters of Virginio and Sisa, with all the wisdom gained through their years, represent a culture that has seen its younger generations lose their language and beliefs as they assimilate into an increasingly globalised world. The Quechua culture, and its views on death, life, and nature, is one we know very well in La Paz, but it is disappearing. Utama is also a love story. The intimacy of Virginio and Sisa’s relationship can be felt through the minimal gestures between them, and the silences that dominate them – silences that can develop in decades-long relationships. Regardless of the cultural differences between these characters and the audience, I wanted to show their love as a universal force.

Utama is ultimately a story about one of the most underrepresented places on Earth, but it is also a universal story that could be set in any community that is facing similar social and environmental problems. It is a story told through the eyes of a humble couple who face death and the loss of their values and customs. But there is still the possibility of perseverance and preservation. Although it seems like a tragedy, I want the film to bring hope. Alejandro Loayza Grisi [導演的話]

這是一個警世故事。老年人可以代表一種久違並且罕見的意識與智慧。他們可以代表我們所忽略的警告。韋堅尼奧和薛莎的角色，以及他們多年來獲得的所有智慧，代表了一種文化，而他們正目睹年輕一代融入日益全球化的世界，已失卻了他們本來的語言和信仰。克丘亞人的文化及其對生死和自然的看法，我們在拉巴斯很熟悉，但它正在消失。這也是一個愛情故事。韋堅尼奧和薛莎的親密關係，可以透過他們之間最微小的身體語言以及他們多數時候的沉默裏（在長達數十年的關係中發展出的沉默）感受得到。不論這些角色和觀眾之間的文化差異如何，我想把他們的愛，視為一種普世的力量。最終，這個故事也是關於地球上其中一個最少被提及的地方，但它也是一個普世的故事，可以發生在任何面臨類似社會和環境問題的社區。故事透過這對卑微夫婦的眼睛講出，他們面臨死亡，以及價值觀和習俗的流逝，儘管如此，仍有堅持和保存的可能。雖然看起來像是悲劇，但我想這部電影能帶來希望。

資助 Supported by FIREBIRD AWARDS 火鳥大獎 Documentary Competition 紀錄片競賽

曾肇弘影評人及文化研究者。香港大學中文學院畢業，曾任出版、教育、電台嘉賓主持等工作，現為電影文化中心（香港）、香港電影評論學會副會長，以及香港演藝學院電影及電視學院客席講師，積極推廣電影及本地文化。文章散見於《星島日報》、網媒《虛詞》等。 53

DOCUMENTARY COMPETITION JURY 紀錄片競賽評審團

Benjamin REE is a Norwegian documentary film director. His The Painter and the Thief (2020) won 30 awards at some of the world’s biggest film festivals, including London, Hong Kong and Sundance. Shortlisted for the Oscars, the film was named one of 2020’s best films by BBC, Boston Globe, Washington Post and the New York Times. His feature film debut, Magnus (2016), a comingof-age sports documentary about the world’s best chess player Magnus Carlsen, also won multiple awards at various international film festivals.

KIM Young-woo is a festival programmer, festival consultant, and curator. After studying Visual Arts & TV at Rutgers, the State University of New Jersey, USA, he joined the selection committee of Busan International Film Festival as a programmer in charge of Asian cinema until 2019. Working closely with Korean independent cinema groups, he is a board member of Seoul Independent Film Festival and a member of the Association of Korean Independent Film & Video. He is currently working for Red Sea International Film Festival as a programmer, and also as programme advisor to Locarno, IDFA, and other festivals in the EU.

金泳佑身兼電影節節目策劃、顧問及策展人。在美國新澤西州立羅格斯大學主修視覺藝術與電視，其後加入釜山國際電影節選片委員會，負責亞洲電影的節目策劃至 2019 年。與韓國獨立電影組織緊密合作，是首爾獨立電影節的董事會成員，亦是韓國獨立電影及錄像協會成員。現為紅海國際電影節的節目策劃，同時為羅迦諾電影節、阿姆斯特丹國際紀錄片電影節及其他歐洲電影節擔任節目顧問。

本杰明李挪威紀錄片導演。2020 年執導《畫家愛上賊》在世界各大電影節，包括倫敦、香港及辛丹斯榮獲共三十個獎項。除入圍奧斯卡金像獎外，此片亦獲英國廣播公司、波士頓環球報、華盛頓郵報及紐約時報選為 2020 年最佳電影之一。首部長片《麥納斯》(2016) 紀錄勇奪國際象棋世界冠軍的神奇小子麥納斯卡遜，亦於多個國際電影節贏得不少獎項。

Eric TSANG Siu-wang is a film critic and cultural researcher. He obtained his Master of Arts degree from the School of Chinese in The University of Hong Kong. He was a guest host at Metro Radio for years. Committed to promoting film and local culture, he is currently Vice-chairperson of the Film Culture Centre (Hong Kong) and the Hong Kong Film Critics Society, and guest lecturer at the Hong Kong Academy for Performing Arts. His writings can be seen on Sing Tao Daily and online media P-articles.

All That Breathes 救雀奇兵 My interest in the ‘more-than-human’ (as it is called in geography terminology) began during a fellowship in Cambridge University in 2018, under a research project called ‘Urban Ecologies’. I began developing a deep interest in the behavioural and evolutionary changes in animals in Delhi prompted by air pollution. Coupled with this was a sense of unease many of us felt towards the escalating social tension in India. Focusing closely on the figure of the black kite opened up not just the environmental but also the most pressing socio-political dramas of our times. I am not interested in making either conventional ‘nature-based’ programming or a ‘wildlife’ documentary. My focus is neither limited to the life of the human protagonists nor the avian ones. The city itself – replete with the many human-animal ensembles in it, features as a character in the film.

54 DOCUMENTARY COMPETITION 紀錄片競賽 India/USA/UK 印度／美國／英國 2022 | Hindi | DCP | Colour | 94 min Director Shaunak Sen Producer Shaunak Sen, Aman Mann, Teddy Leifer Cinematographer Benjamin Bernhard, Riju Das, Saumyananda Sahi Editor Charlotte Munch Bengtsen Music Roger Goula Sound Niladri Shekhar Roy, Moinak Bose Production Kiterabbit Films, Rise Films World Sales Submarine Entertainment

In recent months, Nadeem and Saud have felt under siege from factors other than Delhi’s ongoing environmental catastrophe. The family grapples with the seismic ecological and political changes taking place around them and their relationship with their work comes under severe stress.

The film experiences many of these macro-level changes through intimate details, as the family processes and deals with them. Sometimes through trepidation, sometimes through instinctive fear, sometimes with wry humour, occasionally with ugly in-fighting, but mostly with quiet courage. Sen [導演的話]

Shaunak

我對「不止於人類」（地理術語）感興趣，始於 2018 年我在劍橋大學進行「城市生態學」的研究計劃。我開始對空氣污染引致德里的動物在行為上及進化上的改變產生了濃厚興趣。與此同時，我們許多人對印度不斷加劇的社會緊張局勢感到不安。密切關注那些麻鷹，不僅關乎環境，更是我們這個時代最迫切的社會政治戲劇性事件。我對製作傳統「以自然為本」或「野生動物」紀錄片都不感興趣。我關注的既不限於人類主角的生活，也不限於鳥類生活。城市存在許多人類與動物的共生關係，城市本身也在這部影片裏扮演着一個角色。最近幾個月，納迪姆和沙德這對兄弟正感到被重重圍困，是來自德里持續環境災難以外的因素，他們這個家庭正努力面對周遭造成嚴重破壞的生態及政治變化，令他們的工作承受龐大壓力。本片透過這個家庭處理許多宏觀層面變化的私密細節，去體會這些變化。而這些細節，有時是惴惴不安，有時是本能的恐懼，有時是諷刺幽默，有時是難看的內鬨，但大多數時候，是靜靜行動的勇氣。 Shaunak SEN is a filmmaker and film scholar based in New Delhi, India. He made his first feature-length documentary, Cities of Sleep, in 2015. 夏納克森現居於印度新德里，身兼導演及電影學者， 2015 年完成首部紀錄長片《夜寐之城》。 FILMOGRAPHY 作品年表 2015 Cities of Sleep 夜寐之城 2022 All That Breathes 救雀奇兵

I became very close to Di, a 12-year-old girl, who gave me access to the whole Hmong community. In her culture, marriage is linked to a controversial tradition: when a boy is interested in a girl, he organises her kidnapping.

[…] Women trafficking is still a serious issue on the Chinese border only 90 km away. Almost every family in these communities has suffered such an abduction. As a consequence, sexual abuse and violence are very common in this region. Since I started to shoot, two schoolmates of Di were raped on their way to school. One of them was murdered. While becoming teenagers, Di and her friends had fear growing in them.

我出生於越南東北部的傣族農村。十五歲時，我的好友不能繼續高中學業。第一個好友出嫁時，我記憶裏視之為童年的終結。十年後，我看到一群苗裔赫蒙族女孩在沙垻市的霧色中玩耍，像是看着自己童年的反照。我與十二歲的阿怡開始相熟，她讓我可以在赫蒙族社區自由來去。在她的族群文化裏，婚姻涉及一個富爭議的習俗：當男孩喜歡一個女孩，他會策劃綁架她。在中國邊境，拐賣女性的問題甚為嚴重，幾乎每一個家庭皆曾受其害，性虐待及暴力在此區非常普遍。我開始拍攝時，阿怡的兩個同學上學途中遭強暴，其中一個更被殺。她們的成長之路滿佈恐懼。我注意到攝影機是最佳工具，去記錄阿怡不易察覺的轉變。看着拍攝的素材，我驚覺她的蛻變：她已是一位美麗而浮躁的少女，正受山谷各種危機威脅。我也感受到恐懼，但這些威脅給予我更大動力，去完成這影片。我認為攝影機也可當作防禦武器，當我拍攝時緊張關係及暴力行為有所抑制。最重要是我想以鏡頭作為橋樑，去了解赫蒙族社會，並與他們交流。我很榮幸有機會透過阿怡的蛻變，以局內人角度去記錄他們的文化，讓越南及海外觀眾了解過程的複雜性。 HA Le Diem was born in 1991 in Tay ethnic minority group, living in the mountains of Northeast Vietnam. She graduated in journalism from the University of Social Sciences and Humanities in Hanoi in 2013. Children of the Mist is her first feature documentary feature. 何黎艷 1991 年生於越南東北部山區的傣族農村。2013 年畢業於河內人文社會科學學院新聞系。《霧之雛》是其首部紀錄長片。 FILMOGRAPHY 作品年表 2021 Children of the Mist 霧之雛

55 DOCUMENTARY COMPETITION 紀錄片競賽 Children of the Mist Mev nyuam npaj huab 霧之雛 Vietnam 越南 2021 | Hmong / Vietnamese DCP/Online | Colour | 93min Director Ha Le Diem Producer Tran Phuong Thao, Swann Dubus Cinematographer Ha Le Diem Editor Swann Dubus Production Varan Vietnam Co. Ltd. World Sales CAT&Docs

I was born in a small village belonging to the Tay community, an ethnic group in Northeast Vietnam. At the age of 15, my beloved friends couldn’t continue their studies in high school. When the first one got married, I remember this as the end of my childhood.

[…] Above all, I wanted to keep using the camera as a go-between, to understand deeper Hmong society and interact with them. I am also excited to have the opportunity to document from inside this aspect of their culture, through Di’s metamorphosis and to show to Vietnamese and international audiences the complexity of this process. Ha Le Diem [導演的話]

56 DOCUMENTARY COMPETITION 紀錄片競賽 2021 | Tibetan | DCP | Colour | 86 min Director Jin Huaqing Producer Li Tutu, Wu Enxy Cinematographer Jin Huaqing Editor Jin Huaqing Sound Huang Mengqi, Liu Xu, Zhou Pengju Production Jin Huaqing Film Studio World Sales Autlook Films 導演金華青監製李圖圖、吳恩熙攝影金華青剪接金華青音響黃夢琪、劉緒、周朋舉

我們靜靜地凝視這座神秘而森嚴的寺廟，記錄下四季輪換裏覺姆隱秘的日常。冷冽的山谷裏絳紅的覺姆袍在寒風中翻飛，她們的睫毛上凝結着冰霜，笑容羞澀而純真。她們並不是因為遭遇什麼不如意或者困境來到這裏出家，對她們而言，這是一種生活的可能性，一種令她們振奮的生活方式。她們是一群精神富足並快樂的人，是靈性的自然主義者。在她們身上可以看到最簡單的人類美德，利他思想、良善和溫暖。如果人有辦法達到完美的境界，就一定是這個樣子。 JIN Huaqing was born in 1984 in Zhejiang, China. He has directed several award-winning documentaries, including Blossom with Tears (2012) and Endless Road (14) Dark Red Forest is his latest film. 金華青 1984 年生於中國浙江，紀錄片導演。《呼嘯的金屬》(2009)、《花朵》(12 )、《奔跑的黃昏》(14 )等作品在多個國際影展榮獲逾五十個獎項。 SELECTED FILMOGRAPHY 主要作品 2009 Heavy Metal 呼嘯的金屬 2012 Blossom with Tears ( short) 花朵（短片） 2014 Endless Road ( short) 奔跑的黃昏（短片） 2016 The Tibetan Girl (short ) 貢秋卓瑪（短片） 2021 Dark Red Forest 絳紅森林

Dark Red Forest Jianghong senlin 絳紅森林 We stare at the monastery on the plateau and record the nuns’ mysterious daily lives. I met them in a bleak valley in Ganzi, Sichuan. Their dark red robes were fluttering in the biting wind. With frost on their eyelashes, their smiles were shy and innocent. They came here not because of any unsatisfactory or difficult situation, it is a possibility of life, a way of life that inspires them. Their exuberant peace and love opened my heart. I thought, I might bring many people great comfort if I could let them see this group of spiritual naturalists, to know the existence of such a “religious forest”. Jin Huaqing [導演的話]

我還是小孩時，在維也納很早便聽說過《約瑟芬穆贊巴赫》這部小說。像其他人一樣，我視它為性愛啟蒙書…… 儘管它其實不算摩登，卻完全符合所謂「性愛革命」的時代精神……小說的主角是一名五十歲婦人，憶述十九世紀末她如何度過童年和青年時期、維也納市郊狹翳的生活環境，以及工人匠人的生活狀況。而最重要的，是她使用的語言，充斥着無數性器官和性交名詞的市井俚言，我們這一代已很少這樣說話。不過，直至上世紀六十年代，你在維也納仍然感受到小說描述的氛圍。今天，性在媒體無處不在，同時，性不構成一個議題。我們不禁去問：何以致此？西方世界處理性問題的方式究竟從哪兒開始？法國哲學家傅柯在上世紀七十年代考察西方如何對待性這事情時得出這個結論：「現代社會的獨特之處不在他們將性隱藏於密，而在於他們樂於無休止地談論它，同時將它視為秘密予以剝削。」告解室內披露的秘密、在警察面前招認的秘密、因信任醫生而向其披露的秘密。教士、教宗、法官、醫生與媒體。透過本片，我其中一個嘗試就是將這個霸權打開一個缺口 ──即使只是一會兒。 Ruth BECKERMANN was born in Vienna in 1952. Her parents were Jewish survivors of the Holocaust. In 1978 she co-founded a distribution company, since then she started to make films and to write

Ruth Beckermann [導演的話] books. Her latest documentary MUTZENBACHER premiered at Berlinale in 2022 and won the award for Best Film.

Encounters,

露芙柏克曼 1952 年生於奧地利維也納，父母是納粹大屠殺生還者。曾留學以色列，修讀新聞及藝術史，後往紐約視覺藝術學院進修攝影。曾以《華德瀚的華爾茲》( 2018) 獲柏林影展最佳紀錄片獎。 SELECTED FILMOGRAPHY 主要作品 1987 The Paper Bridge 紙橋 1996 East of War 戰事以東 2011 American Passages 美洲通道 2018 The Waldheim Waltz 華德瀚的華爾茲 2022 MUTZENBACHER 好色情荼毒室 ©RuthBeckermannFilmproduktion Persons Aged 18 and Above Only 只准18歲或以上人士

The novel’s protagonist, a 50-year-old woman, recalls her childhood and youth towards the end of the 19th century. She tells of cramped living conditions in the Vienna suburbs, and of craftsmen and workers. Above all, it was her language, her Viennese peppered with countless expressions in dialect for sexual organs, indeed for the whole of sexuality itself, that were hardly in use anymore among my generation. And yet, in the Vienna of the 1960s, you could still feel the atmosphere of the novel. Today, sex is in all the media. At the same time, sex isn’t an issue. How can this be? Where does the way the Western world deals with sex originate from? In the 1970s, French philosopher Michel Foucault examined the West’s relationship to sexuality and came to the conclusion, “that what is peculiar to modern societies is not that they confined sex to a shadow existence, but that they dedicated themselves to speaking of it ad infinitum, while exploiting it as the secret.” The secret to be confessed in the confessional box, admitted before the policeman and shared in confidence with the doctor. The priest, the pope, the judge, the physician, and the media. With this film, I have tried, among other things, to break up – for a moment –this hegemony.

57 DOCUMENTARY COMPETITION 紀錄片競賽 MUTZENBACHER 好色情荼毒室 Austria 奧地利 2022 | German | DCP | Colour | 101 min Director Ruth Beckermann Producer Ruth Beckermann Cinematographer Johannes Hammel Editor Dieter Pichler Sound Andreas Hamza Production Ruth Beckermann Filmproduktion World Sales Austrian Films

As a child in Vienna, I stumbled upon the story of MUTZENBACHER relatively early. Like many others, I read it as an introduction to the practice of the art of love. […] It fit right into the zeitgeist of the so-called sexual revolution, and yet it wasn’t even that modern. […]

The Plains 車廂人生絮語

58 DOCUMENTARY COMPETITION 紀錄片競賽 Australia 澳洲 2022 | English | DCP | Colour | 179min Director David Easteal Producer David Easteal Cinematographer Simon J Walsh Editor David Easteal Music Jemma Burns Sound Nick Batterham Production David Easteal World Sales Pascale Ramonda

I first met Andrew when we worked together some years ago at a community legal centre in the outer suburbs of Melbourne. Andrew started driving me home from work on occasions and an unlikely friendship slowly developed. Over the course of a year I learnt about Andrew’s life, both through our discussions and by hearing some of the telephone conversations he had with his wife and his mother. His mother’s dementia worsened over the year and she passed away. I left that workplace but remained in contact with Andrew and our commutes home formed the basis of the film. We filmed approximately once each month over a year. The content of each shoot was loosely scripted in the month preceding the shoot, based on what had occurred years prior, as well as more recent events, while remaining open for digressions to occur spontaneously, and was comprised of re-creating real events, documentary and fiction. Through the process the film evolved in a very dynamic way, and unintended themes present in the film started to take shape.

[…] For me the image of Cheri and Andrew alone on the plains, without children and now without parents, is a very important one in the film. Above the vast flat landscape of the plains on which they sit, the infinite sky extends. David Easteal [導演的話]

首次遇見安德魯，是在幾年前，我們在墨爾本近郊一個社區法律中心一起工作。他有時會開車送我回家，慢慢建立起一段本來不太可能的友誼。一年間，透過交談，以及他與妻子及母親的電話談話，我漸漸了解他的生活。他母親的腦退化在這一年惡化，最後離世。之後我離開了那個工作地點，但仍與他保持聯繫，我們下班的路程構成了本片基礎。大約每月拍攝一次，前後拍了一年。我會在每次拍攝前的一個月，根據從前發生過的事，以及最近的事件，粗略寫下拍攝內容的底稿，同時容許談話時自由發揮加入題外話，以此混合真實事件重演、紀錄片及虛構情節。透過這個過程，影片以隨時發生變化的方式逐步發展，意想不到的主題開始成形。片中亦出現了安德魯與妻子雪莉在維多利亞西部平原的度假小屋，那是他們尋得慰藉之地。該處人煙稀少，平坦得幾乎看見地平線弧度，日落時看到時間的流逝。記憶和時間是這部影片的主題，兩者都可象徵為無盡的平原。對我來說，沒有小孩且雙親已故的雪莉和安德魯，他們獨留在平原上的影像，在片中非常重要。他們坐看廣闊平原，在他們頭上，無垠的天空正在延伸。 David EASTEAL was born in 1986. He is a Melbourne-based filmmaker. He studied law and literature at the University of Melbourne, and currently practices as a barrister at the Victorian Bar. The Plains is his first feature-length film. 大衛伊斯提爾 1986 年出生，定居墨爾本，畢業於墨爾本大學，主修法律和文學，現為維多利亞州大律師協會的執業大律師。《車廂人生絮語》是他執導的首部長片。 SELECTED FILMOGRAPHY 主要作品 2008 Ascension ( short) 上升（短片） 2011 The Father ( short) 父親（短片） 2015 Monaco (short) 摩納哥（短片） 2022 The Plains 車廂人生絮語

World Sales United Talented Agency

Music Ophir Leibovitch

Sound Aviv Aldema Production Reel Peak Films

59 DOCUMENTARY COMPETITION 紀錄片競賽

坦圖拉屠殺謊言 Israel 以色列 2021 | DCP/OnlineHebrew/English/Arabic | Colour | 95 min

also know that as a strong nation we must now know our past, assume responsibility for our wrong-doings, and look at our Palestinian adversaries differently, acknowledging their narrative too, and start addressing their pain, not only ours. I believe that only after Israeli society goes through this deep transformative and difficult process, will we have a chance for meaningful dialogue and the beginning of a fruitful discussion on a lasting co-existence with our Palestinian neighbours. I believe peace will one day come. I do not feel naïve saying this, and I hope this film can serve as a step on a path of new consciousness and new hope for my beloved country and people, who have been robbed of their true historical story by the forces of our founding myths. Alon Schwarz

[導演的話] 我像其他在以色列成長的人那樣，自小聽取一個漂亮故事：我們的猶太父輩來到「無人之地」建國。1948 年之前居住在這裏的阿拉伯人自願離開，讓我們建立了一個純潔的民族國家，我們古今如一，正義臨身。時至今日，我終於曉得 1948 年的六日戰爭並不能聽一面之詞，戰後在坦圖拉或其他地方殺害無辜者的事兩邊都有做。參戰的士兵相信這是圖存之舉，而在納粹大屠殺之後的世界脈絡裏，一個被攻擊的民族，他們的故事就是用生命寫下的敘事。然而，我也知道作為一個強大的民族，我們現在必須明瞭過去，對過去犯過的錯誤負責，以不同態度對待巴勒斯坦人──不能死守自己的版本，也得同樣承認他們的敘事，確認他們的痛苦。我相信，以色列社會只有經歷如此深刻、艱難的蛻變過程，才有機會和我們的巴勒斯坦鄰人在持續的共存基礎上，進行有意義的對話，開展有成效的討論。我相信和平終有一天降臨，說這話我不覺得天真。前人和建國神話曾強行從我們身上奪走歷史真相，我希望本片可以彌補這方面的損失，讓我們在全新的愛國意識和希望道路上踏前一步。 Alon SCHWARZ was a serial entrepreneur and worked in the software and technology sector before becoming a filmmaker. His debut feature documentary, Aida’s Secrets (2016), premiered at Hot Docs in Canada, and won the Audience Award at Tel Aviv’s Docaviv Festival. Tantura is his second feature. 阿朗舒華茲曾從事軟件及科技行業，在拍電影之前是一個連續創業家。2016 年首執導筒，拍成紀錄片《阿依達的秘密》。《坦圖拉屠殺謊言》是他的第二部導演作品。 FILMOGRAPHY 作品年表 2016 Aida’s Secrets 阿依達的秘密 2022 Tantura 坦圖拉屠殺謊言

Like others who grew up in Israel, I was educated on a story that is very beautiful. Our Jewish founding fathers came to “a land without a people.” The Arabs who lived here before 1948 fled by their own will. We are a pure nation; our people were righteous then, like today. Today,[…]Iknow the war of 1948 was not a one-sided story. Killing of unarmed people after battles ended were committed by both sides, in Tantura as well as other places. These soldiers went to war believing it was an act of survival, and in the context of a postHolocaust world the story of a nation under attack was their lives’ However,narrative.I

Tantura

Director Alon Schwarz Producer Shaul Schwarz, Alon Schwarz, Maiken Baird Cinematographer Or Azulay, Avner Shahaf, Yonatan Weitzman, Ilya Magnes Editor Halil Efrat, Amir Sevilla, Sagi Bornstein

Cinematographer

Production

Real

60 DOCUMENTARY COMPETITION 紀錄片競賽 Brazil/Denmark/USA 巴西／丹麥／美國 2022 | Portuguese/Tupi Kawahiva DCP/Online | Colour | 85 min

The

Music

亞馬遜雨林保衛戰

The story of the Uru-eu-wau-wau – a group of just 183 Indigenous people defending an area of native rainforest spanning nearly 7,000 square kilometres in the Amazonian state of Rondônia – first came to my attention in 2018 when I met environmental activist, Neidinha Bandeira. Through Neidnha, the story grew to include Bitaté, the young leader of the Uru-eu-wau-wau, as well as Sergio and Martins, both settlers who wanted to claim land within the protected Indigenous territory. Over the past four years, we have encountered joy and pain in equal measures, while building a film that seeks to understand the forces driving the destruction of this magnificent ecosystem and the violence against its protectors. This was a difficult film to make, but for all the reasons it has challenged me as a director, I know it will similarly challenge our audiences. Ultimately, this film is about much more than the Uru-eu-wau-wau or the Brazilian Amazon; it is a story about resistance, conquest and the power of narrative. It is the story of our species, our planet, and our collective possibility of a liveable future.

Alex Pritz

[導演的話] 2018 年，當我遇上環保人士內迪納哈班迪拉時，我才注意到烏胡伊烏瓦瓦族的故事，他們族裏只剩下 183 人，保衛着朗多尼亞州亞馬遜森林區佔地近七千平方公里的原始熱帶雨林。透過內迪納哈，影片發展到包括族中的年輕領袖比塔泰，以及希望在原住民保護區開墾土地的外來定居者沙治奧和馬丁斯。在過去四年裏，我們製作這部紀錄片，旨在了解破壞這龐大生態系統的力量，以及針對其保衛者的暴力，過程中經歷了同樣的苦與樂。這是一部很難拍的影片，不過出於各種原因，它對我身為導演提出了挑戰，我知道它也會同樣挑戰我們的觀眾。歸根結底，這部電影不僅是關於烏胡伊烏瓦瓦族或巴西亞馬遜；這是一個關於抵抗、征服和敘事力量的故事。這是關於我們的物種、我們的星球以及我們是否可能共同創造宜居未來的故事。 Alex PRITZ is a director and cinematographer, whose work focuses on humanity’s relationship with the natural world. He holds a Bachelor of Science from McGill University, where he studied Environmental Science and Philosophy. The Territory is his first feature film. 阿歷士普里茲身兼導演及攝影師，作品着重人類與大自然的關係。畢業於加拿大魁北克麥基爾大學，主修環境科學及哲學。《亞馬遜雨林保衛戰》是他的首部長片。 SELECTED FILMOGRAPHY 主要作品 2016 Blue Nile (short , co dir ) 藍色尼羅河（短片，合導） 2019 My Dear Kyrgyzstan (short, co dir ) 我親愛的吉爾吉斯（短片，合導） 2022 The Territory 亞馬遜雨林保衛戰

Editor

Director Alex Pritz Darren Aronofsky, Sigrid Dyekjær, Will N. Miller, Gabriel Uchida, Alex Prizt Alex Pritz, Tangãi Uru-eu-wau-wau Carlos Rojas Felice

Katya Mihailova Sound Rune Klausen, Peter Albrechtsen Protozoa Pictures, Passion Pictures, Lava World Sales Dogwoof Territory

Producer

documentaries,

On how the pandemic influenced his plans: In Russia, many people don’t wear masks. They thought I was some inspector, trying to expose them. Sometimes, weeks went by without capturing a single moment. I thought about giving up, but then I would run into someone special again, including a Santa Claus and a girl discussing the “vastness” of the Russian soul. So many people think I made these conversations up. But I didn’t even speak to them! They were sitting there, eating clementines, talking about everything: Hitler, history, war, space, religion. On New Year’s Eve –can you imagine? They didn’t even ask what I was doing, they didn’t care. Down there, people move in some kind of trance. I could be right in front of them and they wouldn’t see me.

羅斯蘭費杜托夫 1988 年生於白俄羅斯。他本為電影攝影師，移居莫斯科， 2015 年在莫斯科新電影學校畢業。他向紀錄片發展，兩部短片《薩拉萬卡》(15) 和《流浪女之歌》(17) 都在阿姆斯特丹國際紀錄片電影節首映。《下一站，紅場》是他第一部長片。 SELECTED FILMOGRAPHY 主要作品 2017 Songs for Kit ( short) 流浪女之歌（短片） 2021 Where Are We Headed? 下一站，紅場

61 DOCUMENTARY COMPETITION 紀錄片競賽 Where Are We Headed? 下一站，紅場 Russia/Belarus 俄羅斯／白俄羅斯 2021 | Russian | DCP/Online | Colour | 64min Director Ruslan Fedotow Producer Ruslan Fedotow, Nastia Korkia, Matvey Fiks, Simon Zakruzhnyy Cinematographer Ruslan Fedotow Editor Liza Kozlova, Ruslan Fedotow Music Burago Sound Andrey Dergachev Production Pinery World Sales Taskovski Films

[導演訪問] 疫情怎樣影響你的拍攝？很多俄羅斯人都不戴口罩，所以人們以為我是政府人員來捉他們不戴口罩。有時我幾星期都拍不到任何片段，我想過放棄，但往往就有特別的人出現，例如談論俄羅斯魂如何寬宏的那個聖誕老人和女孩。有些人以為片中人的話是我寫的，但我根本沒跟他們交談！他們就坐在那兒，吃着柑，天南地北無所不談：希特拉、歷史、戰爭、和平、宗教，那時更是大除夕！他們沒問我在做什麼，完全不在乎。地鐵站那兒，人們就像遊魂般移動，有時站在他們前面，他們都看不到我。本片雖有抗議納瓦尼被拘留的示威片段，但無意拍成一部政治作品。不時有人問我：「你是白俄人，為甚麼要拍俄羅斯呢？」我認為兩國仍然密不可分，都是警察國家，兩國人民要面對相似問題，尤其是和個人自由有關的。那些示威？是我們生活一部分，沒甚麼大不了。 Ruslan FEDOTOW was born in Belarus in 1988.

On featuring the Navalny protests but trying not to make a political film: People ask me sometimes: ‘You are from Belarus, how come you are showing Russia?’ For me, there is still this connection between our countries. We both have to deal with police government, we face a lot of similar problems – also when it comes to our personal freedom. These protests? That’s our life. It just happens.

Interview with Ruslan Fedotow Variety Starting out as a cinematographer, he moved to Moscow and graduated from the Moscow School of New Cinema in 2015. Moving into his first short film, Salamanca (15) premiered at the IDFA, as did his 2017 follow-up, Songs for Kit Where Are We Headed? is his first feature debut.

資助 Supported by FIREBIRD AWARDS 火鳥大獎 Short Film Competition 國際短片競賽

謝文明台灣知名動畫導演，以手繪動畫探討人性陰暗面見稱，並以驚慄異色風格獲國際注目。兩部短片《肉蛾天》（2008）及《禮物》（2012）曾榮獲聖地牙哥亞洲影展最佳動畫獎。 2020 年憑《夜車》屢獲殊榮，包括金馬獎最佳動畫短片、辛丹斯電影節最佳動畫短片、薩格勒布世界動畫電影節大獎及法國克萊蒙費朗國際短片電影節評審團表揚獎。曾為楊凡執導的《繼園臺七號》（

黎肖嫻電影研究哲學博士，現任城大創意媒體學院互媒藝術副教授，創作和學術研究環繞歷史書寫、視覺民俗志和敘事性。2015 年發起「據點。句點」的參與式藝術實驗。2017 年獲頒香港藝術發展獎藝術家年獎（媒體藝術）。個人實驗錄像回顧展曾於澳門及首爾實驗電影錄影節（EXiM

SHORT FILM COMPETITION JURY 國際短片競賽評審團

當代藝術館舉行；並曾三度參展德國奧柏豪辛國際短片節競賽。

CHEUK Cheung is co-founder of A Priori Image and Hong Kong filmmaker who directed three documentaries about Chinese Opera. He was named Artist of the Year (Film) at the Hong Kong Arts Development Awards and was nominated for Best Documentary at the Golden Horse Awards and Best New Director at the Hong Kong Film Awards with Bamboo Theatre (2019). In 2017, he was invited by Tokyo Arts and Space’s residency programme. He also co-directed a theatre piece Songs of Portrait in 2018, involving three diverse background artists from Kunqu, Noh and Opera.

）和西班牙的

卓翔香港導演，亦是「映像先驗」聯合創辦人，曾執導三部有關戲曲的紀錄片。憑《戲棚》（2019）獲頒香港藝術發展獎藝術家年獎（電影），並獲提名金馬獎最佳紀錄片及香港電影金像獎新晉導演。同時活躍於策劃跨文化藝術創作及交流，曾獲邀到Tokyo Arts and Space作駐場藝術家。聯合導演劇場作品《肖像曲》（2018），與崑劇、能劇及歌劇藝術家合作。 63

）擔任動畫導演，該片獲威尼斯影展最佳編劇獎。

Joe HSIEH is an independent Taiwan animation director whose works are acclaimed for its combination of horror, suspense and artistry by exploring the dark side of human nature. His latest film Night Bus (2020) received multiple awards at various festivals, including Best Animated Short Film at Golden Horse Awards, Short Film Jury Award: Animation at Sundance, Grand Prix at Animafest Zagreb, and Jury Mention at Clermont-Ferrand International Short Film Festival. He was the Animation Director in Yonfan’s animation feature No. 7 Cherry Lane (2019), which received Best Screenplay at the Venice Film Festival. 2019

Linda Chiu-han LAI is a scholar cum research-based interdisciplinary artist focusing on historiographic experiments. She received her Ph.D. in Cinema Studies at New York University and is an experimenter of the Floating Projects on participatory art, and an Associate Professor (Intermedia Arts) at the City University of Hong Kong’s School of Creative Media. In 2017, she was named Artist of the Year (Media Art) at the Hong Kong Arts Development Awards. Her solo retrospective was held at the Experimental Film/Video Festivals in Seoul and Macau (EXiM, EXiS) and C3A (Cordoba, Spain). Her video works are archived by M+ and Video Bureau. , EXiS C3A

Samir KARAHODA is a photographer and cinematographer, tutor and curator of the short film programme at DokuFest, the International Documentary and Short Film Festival. Documentary short film In Between (2019) was his directorial debut.

64 Short Film Competition Programme I 國際短片競賽節目 ( 一 ) SHORT FILM COMPETITION 國際短片競賽 Through observing at a loveable dog’s refusal to submit to the will of her trainer, Adjusting reflects on the relativity of any authority that renders us obedient through the exercise of reward and punishment. [簡介] 看着可愛小狗拒絕服從訓練員的指令，《調教你》從中反思權力透過獎罰制度令我們服從。 Adjusting Prilagodeni 調教你 Dir: Dejan Petrovi Serbia 塞爾維亞 2021 DCP/Online Colour 19min In post-war Kosovo, driven by the ambition to keep their beloved sport alive, two local table tennis players wander from one obscure location to another carrying with them their dub’s only possession: their table. [簡介] 在戰後科索沃，兩個乒乓球手懷抱信念，希望令深愛的運動保持生機，帶着球會的唯一財產──球桌，四處流離。 Displaced Pa Vend 移動乒場 Will You Look at Me, in which I point the camera at my family and myself, is a personal essay on fear, silence, and love. Through the camera lens, my distant gaze seems to be given justification and courage. Huang Shuli [導演的話] 我在此片將攝影機面向家人及自己，是關於恐懼、沉默及愛的個人散文。透過鏡頭的距離，遙遠的凝視變得合理，勇氣油然而生。 Will You Look at Me Dang wo wangxiang ni de shihou 當我望向你的時候 Dir: Huang Shuli Putonghua 普通話 2022 DCP/Online Colour 20min 導演：黃樹立 Dir: Samir Karahoda Kosovo 科索沃 2021 DCP/Online Colour 15min Dejan PETROVI has written screenplays and directed several short feature and documentary films. As a producer, he has taken part in the production of about 50 short documentaries. Selected filmography: Restart (2014), The Same (17). 狄揚彼得諾域編導過多部短片及紀錄片，亦曾為約 50 部紀錄短片擔任監製。導演短片有《重新開始》( 2014)、《一模一樣》 (17 )等。

沙米爾卡拉荷達是硬照攝影師，亦是電影攝影師、導師，並擔任紀錄片及短片電影節的短片策劃。紀錄短片《兩者之間》 (2019 ) 是其導演首作。 HUANG Shuli is a writer-director and cinematographer born in Wenzhou, China. After graduating from Beijing Film Academy in 2019, he moved to New York City as an MFA candidate for NYU graduate film programme. 黃樹立生於中國溫州，身兼編導及攝影師。2019 年在北京電影學院畢業後，到紐約大學進修電影碩士。在《再見，樂園》( 21) 首次擔任攝影師。 Persons Aged 18 and Above Only 只准18歲或以上人士

雨果科瓦魯比亞斯 1977 年生於智利聖地牙哥。他是定格動畫導演及動畫師，亦為

Cinema and screenwriting at

Portugal in 1989. In theatre, she wrote, directed, produced and acted in two plays, and also works as an actor in short and feature films. Blue Has No Dimensions is her directorial debut. 亞嘉塔迪琵荷 1989 年生於葡萄牙波圖。曾編導、監製及主演兩部戲劇，並是電影演員。《接近無限維度的藍》是其首部執導之作。 Hugo COVARRUBIAS was

Dir: Hugo Covarrubias Chile 智利 2021 DCP/Online 16min

Anastasia VEBER was born in Saint Petersburg, Russia in 1995. She is a director, screenwriter and poet. She the city’s School New its State University of Film IO (2019),

He is a stop motion director and animator, and the founder

Colour

studied directing at

and Television. Selected filmography: Syndrome

65 SHORT FILM COMPETITION 國際短片競賽 Short Film Competition Programme I 國際短片競賽節目 ( 一 ) Blue Has No Dimensions is a constant unfolding of fiction and reality: it’s me in the present “playing myself” in the past, about events that happened in my life, in the same places, through a narrative that uses fictional strategies. Agata de Pinho [導演的話] 此片虛構與現實的故事不斷展開：現在的我在扮演過去的我，透過虛構的敘事，在相同地點，重塑我生命中曾發生的事情。 Blue Has No Dimensions Azul 接近無限維度的藍 Dir: Agata de Pinho Portugal 葡萄牙 2022 DCP/Online Colour 21min Based on true events, Bestia explores the life of a secret police agent during the military dictatorship in Chile. Her relationship with her dog, her body, her fears and frustrations reveal a grim fracture of her mind and the country. [簡介] 改編真人真事，《野獸之思》探索智利軍政獨裁年代擔任秘密警察特工的生活。她與愛犬、身體、恐懼及憤怒之間的關係，透露出國家與她腦內可怕的裂痕。 Bestia 野獸之思

Young Sasha loves and hates his sister at the same time. She is a troublemaker. That is why he carefully avoids mentioning her even in an ordinary conversation with a policeman on the street. Moreover, Sasha has his own life. He tries to win the girl from his authoritative classmate in Olympic reserve school. The conflict turns from a trifle into a disaster. This situation is a trap for everyone involved. born in Porto, born in 1977 in Santiago, Chile. of the Maleza theater company, pioneering in mixing theatre with animation. Selected filmography: El Almohadón de Plumas (2007), The Night Face Up (12). Maleza 劇場的創辦人。導演短片有《羽絨

[簡介] 沙沙對妹妹既愛且恨，她常惹事生非，因此當他被警察當街問話時也小心避免提起她。再者，沙沙也有自己的人生。他想從奧林匹克預備學校的精英同學手上搶奪心儀少女的芳心。因小事而起的衝突演變成災難。情況令人人被困。 Trap 被困的青春 Dir: Anastasia Veber Russia/Lithuania 俄羅斯／立陶宛 2021 DCP/Online Colour 19min Agata DE PINHO was

枕》( 2007)、《夜面朝上》(12 )等。

Sedated (21). 安娜塔西亞維芭 1955 年生於俄羅斯聖彼得堡，身兼導演、編劇及詩人。畢業於聖彼得堡的新電影學院。導演短片有《症狀 IO》(2019 )、《鎮靜》(21)等。 © Anastasia Arzhevikina, Ignat Dvoinikov Persons Aged 18 and Above Only 只准18歲或以上人士

瑪利亞施維婭埃斯特維生於危地馬拉的阿根廷導演。首部執導紀錄片《施維婭》( 2018)於阿姆斯特丹國際紀錄片電影節作世界首映，並於多個電影節獲獎。 Pimpaka TOWIRA has been a pioneer among female film directors in the Thai independent film scene since the early 1990s. She received international acclaim for her first feature One Night Husband (2003). Selected filmography: The Truth Be Told (07), The Island Funeral (15). 彭柏嘉托維娜自九十年代初成為泰國女性獨立導演的先驅。首部長片《一夜丈夫》( 2003) 獲國際推崇。導演長片有《說出真相》( 07)、《小島葬禮》(15 )等。

66 Short Film Competition Programme II 國際短片競賽節目 ( 二 ) SHORT FILM COMPETITION 國際短片競賽 Misty field, crowded locker room. Margo belongs to neither. Maybe if she loses her virginity, she will finally find her place. [簡介] 迷霧之地，擠迫的更衣室，瑪歌不屬於任何一處。或許失身之後，她最後會找到安身之所。 North Pole 失身之惑 Dir: Marija Apcevska Macedonia/Serbia 馬其頓／塞爾維亞 2021 DCP/Online Colour 15min The Spiral grew out of my need to tell a friend that she was not alone, that I could understand her…. But above all, I wanted her to know that sometimes it’s necessary to untangle what hurts in order to turn it into something else… this time, into a psychedelic ride. María Silvia Esteve [導演的話] 拍此片是出於我想告訴一個朋友，她並不孤單，我能了解她……最重要的是，我想她知道有時需要解開傷害的死結，讓它轉化為其他東西……這次，變為迷幻之旅。 The Spiral 記憶迴廊 Dir: María Silvia Esteve Argentina 阿根廷 2022 DCP/Online Colour 20min In the violence-plagued southernmost provinces of Thailand – namely Pattani, Yala and Narathiwat – authorities can detain citizens without charge for up to 37 days under the Emergency Decree and Internal Security Act. Special security laws have been in force in the region for more than decade. [簡介] 在泰國南端的北大年府、耶拉府及陶公府被暴力籠罩，當局可按緊急條例及內部安全法令，在沒有指控的情況下拘留市民37日。區內的特別安全法已實施多年。 A Nonconformist Khon Nhok 拒同流者 Dir: Pimpaka Towira Thailand 泰國 2022 DCP /Online Colour 20min Marija APCEVSKA holds BA in Directing from Faculty of Dramatic Arts in Skopje, and MA in Film and Media Production from New York Film Academy in Los Angeles. North Pole was premiered at Cannes. 瑪利亞阿莎斯卡在北馬其頓斯科普里演藝學院取得導演學士學位，並於洛杉磯的紐約電影學院取得電影及媒體製作碩士學位。《失身之惑》於康城影展首映。

María Silvia ESTEVE is an Argentine film director, born in Guatemala. Her debut documentary film Silvia (2018) had its world premiere at IDFA, and received several awards from various film festivals.

Joaquín COCIÑA was born in Conceptión, Chile in 1980. He studied art at Universidad Católica de Chile. The Wolf House (2018) was his feature debut. 1980

67 SHORT FILM COMPETITION 國際短片競賽 Short Film Competition Programme II 國際短片競賽節目 ( 二 ) The story is simple: Yong-Ching comes, YongChing goes. In Chia-Chen’s life, marriage is like a strong typhoon roaring through the territory with powerful energy, then becoming dialectical to a family: what can be destroyed, and what cannot. Zhang Zhi-Teng [導演的話] 故事的始末很單純，詠晴來了，詠晴走了，在家誠的生命中，婚姻形同強烈的颱風，帶着強大的能量過境，去辯證對於一個家來說：什麼東西是可能摧毀的，而什麼不能。 Good Day 詠晴 Dir: Zhang Zhi Teng Mandarin 國語 2021 DCP/Online Colour 19min 導演：張誌騰 The Bones is a false discovery of global audiovisual culture, highlighting both the morbidity of the animation technique, as well as the radical transformation of Chile’s political and social contingency. The Bones emerges as the country drafts a new Constitution, eliminating the one that Guzmán himself drafted in 1980, which thrust Chile into a failed neoliberal experiment and culminated in the social revolt of October 18th, 2019. Cristóbal León and Joaquín Cociña [導演的話] 《屍骨招魂》假裝發現世界視聽遺產，焦點在於動畫技巧以及智利政治和社會急速轉變的病態。影片始於國家草擬新憲法，廢除古茲曼於1980年草擬的憲法，把智利推向新自由主義的失敗實驗，導致2019年10月18日的社會運動。 The Bones Los Huesos 屍骨招魂 Dir: Cristóbal León, Joaquín Cociña Chile 智利 2021 DCP/Online B&W 14min Emilio, the protagonist of this story, lives in a place he doesn’t recognise anymore. What was once a lively animal farm he proudly owned, is now vanishing behind cracking walls and overgrown grass. He witnesses the creation of his lifetime being belittled by humans and slowly reclaimed by nature. Daniel Soares [導演的話] 故事主角埃米利奧不再認識所居之地。那裏曾經是他引以為傲的牧場，如今已消失於破裂牆垣與雜草叢生背後。他目睹畢生創造的一切，漸漸被他人小覷，慢慢被大自然吞噬。 What Remains O Que Resta 剩下一隻羊 Dir: Daniel Soares Portugal 葡萄牙 2021 DCP/Online Colour 21min ZHANG Zhi-Teng graduated from Shih Hsin University in Taipei. He was a cinematographer before directing his own film. He was nominated for Best Cinematography at the Golden Horse Awards for Thanatos, Drunk in 2015. 張誌騰畢業於台北世新大學，攝影出身，2015 年憑《醉．生夢死》入圍金馬獎最佳攝影。《詠晴》是其首部自導自演之創作短片。 Cristóbal LEÓN was born in Santiago, Chile in 1980. He studied design and art at the Pontificia Universidad Católica, and art and media at Berlin University of the Arts. The Wolf House (2018) was his feature debut. 基斯杜拜里昂 1980 年生於智利聖地牙哥，於智利天主教大學修讀設計，並曾於柏林藝術大學修讀藝術與媒體。2018 年首次合導長片《狼隱之家》。

年生於智利康塞普西翁，於智利天主教大學修讀藝術。 2018 年首次合導長片《狼隱之家》。 Daniel SOARES is a Portuguese filmmaker & photographer, who was born in Germany and currently lives in New York. Forgotten (2018) is his first short documentary, while What Remains is his first fiction short film. 丹尼蘇亞雷斯是葡萄牙裔導演及攝影師，德國出生，現居紐約。《遺忘》(2018) 是其首部紀錄短片，而《剩下一隻羊》是其首部劇情短片。

華堅哥西尼亞

[導演的話] 我在此片的焦點在於以儀式作為成年禮，或由小孩過渡至成人的起始。片中的儀式包含成長、身份、生死及重生等普世主題……至於由小孩變為至成人，是如何區別由小孩之死至重生為成人，兩者之間又怎樣過渡？ [導演的話] 朋友告訴我的一件真實事件及拍攝這兜轉故事的種種可能性，令我深深動容。我年輕時亦曾有類似墮胎經驗。此片糅合了我朋友的故事及我的親身經歷。 [簡介] 在巴西北岸的納塔，國家首枚自製載人火箭發射即將升空。一對夫婦與兩個孩子住在太空中心附近，她是清潔工，他是車房技工，但她夢想到另一天際。

68 Short Film Competition Programme III 國際短片競賽節目 ( 三 ) SHORT FILM COMPETITION 國際短片競賽 During the day, the greenhouse is a cinematic device, an automated film set optimised for the mass production of fruits and flowers. At night, the factory stops: without an inside or an outside, the greenhouse becomes an oneiric chamber where plants, animals and machines form new entanglements. [簡介] 本片觀察現代工業化農業的新近科技轉變。日間，溫室是一項影像設備，大量生產水果及鮮花的自動裝置。夜間，工廠停止運作：內外無人，溫室變成夢幻般的密室…… Memoir of a Veering Storm 風暴回憶鹿 Agrilogistics 溫室的日與夜 Sideral 升空奇遇記 Dir: Sofia Georgovassili Greece 希臘 2022 DCP/Online Colour 14min Dir: Gerard Ortín Castellví UK/Spain 英國／西班牙 2022 DCP/Online Colour 21min Dir: Carlos Segundo Brazil/France 巴西／法國 2021 DCP/Online B&W 15min Sofia GEORGOVASSILI is an award-winning actress and filmmaker based in Athens, Greece. She won Best Director award at Drama International Short Film Festival with her debut short film, Preparation (2017). 蘇菲亞佐治芭仙妮是希臘演員兼導演，獲獎無數。她在基斯圖歷高執導的《忘情果》(2020)擔任女主角。她憑首部執導短片《預備》 ( 17) 在希臘的戲劇國際短片節獲最佳導演。 Gerard Ortín CASTELLVÍ was born in 1988 in Barcelona, Spain. He is an artist, filmmaker and researcher. He is currently doing a PhD and teaching at the MA Art & Ecology at Goldsmiths, University of London. Selected filmography: Wolfdog (2017), Reserve (20), Future Foods (21). 謝勒奧丁卡斯特維 1988 年生於西班牙巴塞隆拿。身兼藝術家、導演及研究者，現正於倫敦金匠學院攻讀博士，並於藝術及生態碩士課程任教。導演短片有《狼狗》( 2017)、《自然保護區》(20 )、《未來食物》(21)。

Bird in the Peninsula 半島之鳥

Dir: Wada Atsushi France/Japan 法國／日本 2022 DCP/Online Colour 16min WADA Atsushi was born in 1980. He graduated from Osaka Kyoiku University, Image Forum Institute of Moving Image and Tokyo University of the Arts. He began to create short animated films in 2002. Selected filmography: Day of Nose (2005), The Mechanism of Spring (10), The Great Rabbit(12). 和田淳 1980 the rituals in this film contain universal themes like growth, identity, life, death, rebirth... the case of passage from children to adults, how will be the separation from the state of children (death as a child), integration into adults (reproduction as adult), and the transition between them? Atsushi

I also had had such an experience of a termination at a young age. In the film, my friend’s story is amalgamated with my own subjective experience. Sofia Georgovassili In Natal, on the Brazilian north coast, the country is preparing to launch its first manned space rocket into space. A couple lives with their two children near the space centre, she is a cleaner and he is a mechanic, but she dreams of other horizons.

生於

Carlos SEGUNDO was born in São Paulo, Brazil. He holds a doctorate in cinema and a Master’s degree in psychoanalysis. He is a professor at the Federal University of Rio Grande do Norte. Selected filmography: Fendas (2019), From Time to Time I Burn (20). ( 2019)，短片有《偶爾自焚》(20 )等。

年，畢業於大阪教育大學流動影像論壇研究所及東京藝術大學。導演短片有《鼻子日》( 2005)、《彈簧裝置》 (10 ) 、《偉大兔子》(12)等。 Then

and

卡洛斯施觀度生於巴西聖保羅。他擁有電影博士學位及心理分析碩士學位，現為南大河州聯邦大學教授。導演長片有《裂縫》

Wada

Dir: Mohammadreza Mayghani Iran 伊朗 2021 DCP/Online Colour 14min

Dir: Diana Cam Van Nguyen Czech Republic/Slovakia 捷克／斯洛伐克 2021 DCP/Online Colour 13min

[導演的話] 此片是我的童年經驗。我兩三年來要戴着一個很大的牙箍頭套，單是這樣已令我在學校被羞辱。影片中很多片段是根據我少年時的回憶。奇怪事件不能宣之於口，因為會觸犯社會禁忌。 [簡介] 這部短片關於小孩與父親之間的聯繫和隔閡。作者重新發現父親在獄中寫給她的信充滿着愛。那愛現已消逝。她決定再執筆，望能重建聯繫。她在信中寫出難以言傳的感受：責怪他令家庭破裂，但亦試圖理解他。 [導演的話] 在莎士比亞的《暴風雨》裏，我們找到視野的共同點及分叉路，助我們糅合劇場與景致、文本與沉默、姿態的動與靜，讓我們對鏡自問，尋覓未來繼續拍電影的方向。 Mohammadreza MAYGHANI was born in 1995. He is an Iranian director, writer, and producer. He holds a Bachelor’s degree in dramatic literature from Sooreh University of Arts. Cleaner (2017) is his directorial debut short film. 穆罕默德扎薩馬根尼 1995 年生於伊朗，身兼導演、編劇及監製，擁有 Sooreh 藝術大學戲劇文學學士學位。曾編導短片《清潔工》( 2017)，並為《黃斑點》(20 ) 任編劇及監製。

Dir: Lois Patiño, Matías Piñeiro Spain/Portugal 西班牙／葡萄牙 2021 DCP/Online Colour 20min Orthodontics is an effective personal experience of my childhood. I had to wear a huge orthodontics headgear for a couple of years and that was a sufficient reason to be humiliated at school. A big part of the film is footage based on memories from my own teenage years. Mohammadreza Mayghani A short film about ties and gaps between a child and a parent. The author rediscovers love letters her dad used to write her from prison. That love seems to be gone now. She decides to write back in hope to find the connection again. She puts in writing what could not be said: blaming him for family´s break-up but also trying to understand. In The Tempest by William Shakespeare we have found a common ground and a crossroad between our visions that helped us to merge theatre and landscape, text and silence, movement and stillness in gesture that sets us to question ourselves and find the films we want to keep on making in the future.

69 SHORT FILM COMPETITION 國際短片競賽 Short Film Competition Programme III 國際短片競賽節目 ( 三 ) Orthodontics 緊箍咒 Love, Dad Milý tati 吾愛，吾父 Sycorax 暴風雨女巫

阮甘文

Lois Patiño and Matías Piñeiro Diana Cam Van NGUYEN was born in 1993. She is a Czech-Vietnamese director, currently studying animation master programme at FAMU in Prague. Selected filmography: The Little One (2017), Apart (18). 1993 年出生，是越南裔捷克籍導演，現於布拉格表演藝術學院電影電視學院修讀動畫碩士課程。導演短片有《小人兒》 ( 2017)、《分開》(18 )。 Lois PATIÑO was born in 1983 in Vigo, Spain. He is a director, cinematographer, and artist. Selected filmography: Coast of Death (2013), Red Moon Tide (20). 路易斯柏天奴 1983 年生於西班牙維戈，身兼導演、攝影師及藝術家。導演作品有《死亡海岸》(13 )、《紅月狂潮》(20 )等。 Matías PIÑEIRO was born in 1982 in Buenos Aires, Argentina. He is a screenwriter and director, and also a film professor and a film programmer. Selected filmography: Viola (2012), Isabella (20). 馬蒂亞斯皮列羅 1982 年生於阿根廷布宜諾斯艾利斯，身兼編劇及導演，亦是電影講師及節目策劃。導演長片有《維奧拉》 (2012)、《伊莎貝拉》( 20)。

吳君如二十歲踏足電影圈，演過不少教人印象深刻的角色，一邊是揮灑自如的喜劇：首先以黑馬之姿騎劫了《霸王花》，及後常在男性主導的喜劇中擔當諧星丑角；另一邊是耀目的可塑性發揮：自資製作《 4 面夏娃》毅然踏出轉型的神奇一步，是她日後探索自主與多元性別形象的濫觴。《古惑仔情義篇之洪興十三妹》中女生男相、剛柔並濟的演出贏得香港電影金像獎最佳女主角。其後繼續尋求突破：《朱麗葉與梁山伯》的乳癌康復者、《江湖

In a remarkable career spanning over 30 years, Sandra Ng is renowned for her comedic roles, carving out a niche with her unique splash of slapstick in a male-dominated industry. She has also portrayed her fair share of serious, multifaceted characters, exemplified in 4 Faces of Eve. This self-funded experimental omnibus revamped her image, leading to her first Best Actress win at the Hong Kong Film Awards for Portland Street Blues. Unafraid of pushing boundaries across genres, the highly prolific actor continues to challenge herself in versatile roles, from a breast cancer survivor to a loving, unflinching mother. Her most iconic character – the dynamic and sanguine hooker in Golden Chicken – earned her the Best Leading Actress accolade at Golden Horse Awards, and mirrors her own stamina and perseverance in building the foundation for her career’s longevity. Beyond claiming the title of top-grossing queen, she has spun off in recent years to make her directorial debut and serve as a producer, a move that firmly establishes her as an accomplished allrounder, and an indelible figure in Hong Kong film history. 告急》的江湖大嫂、《麥兜》系列聲演麥太，以及《歲月神偷》和《媽媽的神奇小子》裏的堅韌母親等。她憑《金雞》再拿下金馬影后，阿金以超強適應力，以笑與淚面對命運，可看作君如星途的縮影與自況。從影三十多年來在時代中順流逆流，累積了本地電影最高票房的女演員。近年開始兼任監製，也執起導筒。吳君如憑着女性自覺與個人意志，不斷求變，走出了一條非一般的黃磚路。

CINEMA 華語電影

PAN-CHINESE

資助 Supported byMoleskine 今年再度與香港國際電影節合作，為關錦鵬設計特別版筆記簿。 Moleskine has collaborated with the HKIFF to create a special edition notebook for Stanley Kwan.

Sandra Ng, Filmmaker in Focus

焦點影人吳君如

、馮淬帆 Stanley

Part Sandra Ng showcase, part experimental art piece, this four-story anthology portrays multiple feminine facets with startling, sometimes delirious expressionism. Ng delivers driven performances as four different women, each depicting an interpretation of the female experience, be it glorious, pathetic, or even outrageous. The lurid sights and sounds can be credited to the decorated crew, while Ng and her supporting cast deliver the script’s postmodern metaphor and shrill satire with admirable abandon. just starting her prolific career, Sandra Ng played a supporting role in this ensemble as one of a number of young women who join an all-female police crime-fighting squad. Encountering sexism and inter-squad politics during training, the girls must settle their differences before regrouping for an all-out Hong Kong cinema-style action finale. A hypercommercial mix of lowbrow laughs and bone-crunching action, this 80s hit gave Ng plenty of opportunities to show off her exceptional comedic talents. Ng Fung co-stars Sandra Ng and Stephen Chow show fine chemistry as a penniless couple who elope against the wishes of her tough-talking father. Relocating to the big city, they struggle to survive in the face of myriad unexpected situations. Made during Hong Kong cinema’s heyday, this sincere comedy-drama ably explores how regular Hongkongers make daily sacrifices for their jobs and love lives. Given ample room by a restrained Chow, Ng shines as a perfectly average yet uniquely special woman.

action-comedy,

持續的剝削性丑角演出後，吳君如自覺被定型求變，九七前於商業電台結識一班用字撚聲奇才，又山水相逢甘國亮，不問市場毅然自資玩一鋪。四段短章有四個突出形象：嗲聲嗲氣黐實林海峰的尋愛金毛〈白金毛〉，幫葛民輝禁錮莫文蔚目不識丁的〈食風贊嬌〉，致敬任劍輝男人心女兒身的〈無相無色〉，還有〈愛到要死〉自況迷失在雄性世俗價值觀中。吳君如性別觸覺加身世辯證，一邊沉思，一邊反思反智，自嘲身處紛亂侷促，是當代香港電影難得一次女性前衛步伐。 4 Faces of Eve 4 面夏娃導演 Dir: 甘國亮 Kam Kwok leung、林海峰 Jan Lamb、葛民輝 Eric Kot 粵語 Cantonese 1996 DCP 91min 演員 Cast: 吳君如 Sandra Ng、葛民輝 EricKot、林海峰 JanLamb、莫文蔚 KarenMok Arriving amidst late-1990s gangster film boom, this spin-off of the Young and Dangerous franchise features a Hong Kong Film Award-winning performance from Sandra Ng as gender-fluid gang leader, Sister Thirteen. Growing up on the mean streets, she must learn the harsh realities of gang life while wrestling with her slowly shifting sexuality. This action-drama handily eclipses its gang-glorifying contemporaries with strong characters and even better performances. 《古惑仔》系列番外篇。少女十三妹不識愁滋味，與青梅竹馬好友當砵蘭街是遊樂場，闖禍連連累死父親，流放珠海。眼見好友搶走心中所愛，敗走回港，搖身一變以女同志身份上位，重遇好友及至愛，才弄清楚雄兔撲朔雌兔迷離的愛情三角真模樣。監製文雋環顧影壇女演員選配角色，不難明察出吳君如性別形象的可塑性，前後兩個短髮形象參詳《 4 面夏娃》，剛柔互漸層次推展，令她首度贏得香港電影金像獎最佳女主角。 Portland Street Blues 古惑仔情義篇之洪興十三妹 Persons Aged 18 and Above Only 只准18歲或以上人士35mm print courtesy of Hong Kong Film Archive, Leisure and Cultural Services Department Like its leading lady, this poignant romance defies expectations and consistently surprises. Ng turns in a soulful performance as breast cancer survivor Judy, thrust into an unlikely relationship with low-level criminal, Jordan when the pair become caretakers for a triad boss’ infant son. As they awkwardly take up their new duties, something resembling romance blossoms. Director Yip infuses realism with depth, creating flawed, genuine characters through incidental action and quietly expressive moments. 朱麗葉離開了羅密歐，梁山伯半生未遇見祝英台，孤獨對獨孤，會負負得正乎？葉偉信踏入千禧創作意念不斷，搭連命運交叉線，得出這部風味另類、處境巧妙的愛情小品。吳君如照顧老父，獨居南生圍鐵皮屋；吳鎮宇這扯皮條混混，為後輩孭數硬食爆樽；任達華才是真大佬，卻要隱瞞大嫂找人照顧二奶所出的新生兒。照顧他人 BB 的境況，孤男寡女輕嚐幸福家家酒，憧憬不再落單的人生。吳君如演出從未如此含蓄低調，為平凡女性身影暗鍍一束流光。 Juliet in Love 朱麗葉與梁山伯導演 Dir: 葉偉信 Wilson Yip 粵語 Cantonese 2000 DCP 89min 演員 Cast: 吳君如 Sandra Ng、吳鎮宇 Francis Ng、任達華 Simon Yam、葛民輝 Eric Kot When

八十年代港產片在男性意識主導下，難得這次不經意的兩性平反。女警司被委任成立全女班特種部隊，與飛虎隊在同一營地集訓，意念來自當年賣座西片《學警出更》，次類型包裝警匪動作青春浪漫搞笑大雜燴，拿準女兒當自強的主線，角色在對外鬥氣與對內磨合中集體成長。吳君如飾演 Amy ，在一眾「霸王花」中排名第七，卻在錢昇瑋放手給演員各自發功及捕捉現場喜感的處理下脫穎而出，成功演繹率直、自嘲、粗魯、逞強、個性，獲提名香港電影金像獎最佳新演員。 The Inspector Wears Skirts 霸王花導演 Dir: 錢昇瑋 Wellson Chin 粵語 Cantonese 1988 DCP 96min 演員 Cast: 胡慧中 Sibelle Hu、吳君如 Sandra

劉鎮偉拍《流氓差婆》，要吳君如第一次獨挑大樑，與客串半部的周星馳火花四濺，二人再接再厲，保守戲軌，全心全意的肥皂劇，效果卻是出奇清新。帶娣與金水皆單純來自新界，金水被睇死無出頭，帶娣毅然隨他私奔出巿區自食其力，她為了保證金瞞着金水去做小姐，公司那邊金水則謊稱是姊弟關係，粗魯、率性、搞笑的處境此起彼落，當年黑馬姿勢贏得過千萬佳績。結局帶娣出走過冷河回來不再做吳下阿蒙，印記吳君如出走羅拉氣質與自強形象，日後不斷被提起。 Love is Love 望夫成龍導演 Dir: 梁家樹 Tommy Leung 粵語 Cantonese 1990 DCP 96min 演員 Cast: 吳君如 Sandra Ng、周星馳 Stephen Chow 、關秀媚 Suki Kwan、成奎安 Shing Fui on © 2010 Fortune Star Media Limited. All Rights Reserved. © 1998 WBEI

71 導演 Dir: 葉偉民 Yip Wai man 粵語 Cantonese 1998 35mm 120min 演員 Cast: 吳君如 Sandra Ng 、楊恭如 Kristy Yeung、方中信 Alex Fong、舒淇 Shu Qi SANDRA NG, FILMMAKER IN FOCUS 焦點影人吳君如

72 SANDRA NG, FILMMAKER IN FOCUS 焦點影人吳君如 A superstar love triangle is born in this popstar-fuelled hit. Sandra Ng plays Kam, a poor “Plain Jane” who falls head-over-heels for the good looks and nimble footwork of dance instructor Namson. However, Kam finds a challenging rival in the icy and rich princess Tina. Like many all-star comedy classics of the 80s and 90s, this star-studded musical-comedy-drama offers diverse crowd-pleasing elements alongside an affectionate and sympathetic portrayal of the working class, epitomised by Ng’s sweet, pure-hearted and lovable heroine. 緣起於劉德華愛上拉丁舞，想拍一部小品做紀念。一段傳統三角關係，適值 911 事件，改為講述人生有夢的舞感喜劇。吳君如首度以「阿金」之名登場，追貼《阿甘正傳》湯漢斯高純度的正能量，目睹夢中情人變得功利失去拉丁舞者的稜角，梅艷芳換走他的舊舞鞋，也取走他的夢。白馬王子與醜小鴨互勉的故事不落俗套開展，劉偉強信心演繹港味拉丁舞，不忘向粵語通俗歌舞片致敬。近拍英式靚屋，遙望當時全港最高的中環國金，是港產片難得心地自明的隱喻。 Dance of a Dream 愛君如夢導演 Dir: 劉偉強 Andrew Lau 粵語 Cantonese 2001 DCP 94min 演員 Cast: 劉德華 Andy Lau、梅艷芳 Anita Mui、吳君如 Sandra Ng Ng’s most iconic character debuted in this uproarious and nostalgic comedy-drama that earned widespread acclaim and launched a hit franchise. Ah Kum may not be the prettiest nor most successful prostitute around, but her work ethic and positivity make her a survivor – and the perfect tour guide through some of Hong Kong’s most turbulent times. From the 1980s through the 2000s, she weathers political turmoil, stock market crashes, and more personal dramas than can be described. A crowd-pleasing local classic. 趙良駿精準演述，陳可辛對照吳君如的形象與身世，塑造一個「高於生命」的香港女性角色。順風順水起於東方之珠發亮時，逆境潛行則止於世紀沙士來臨前，阿金順着紫藤攀岩而上，魚蛋妹校服脫與未脫間，掹車邊返大富豪見識紙醉金迷，耍醉拳一樣得米；轉到骨場才學專業態度，再而「一樓一」網絡行銷，顧客顯赫寫滿紀念冊：劉德華服務之神、胡軍一代賊王、陳奕迅小鋼炮、梁家輝教授也需要、黃日華刻骨一段情、曾志偉雖然冇幫襯，見證阿金敬業樂業超正能量。 Golden Chicken 金雞導演 Dir: 趙良駿 Samson Chiu 粵語 Cantonese 2002 DCP 107min 演員 Cast: 吳君如 Sandra Ng、曾志偉 Eric Tsang、劉德華 Andy Lau、梁家輝 Tony Leung Ka fai Courtesy of Focus Films Limited Sandra Ng earned a Hong Kong Film Award nomination for writer-director Alex Law’s nostalgic drama, which won a Crystal Bear at Berlinale. Law drew from his own experiences for his portrait of a struggling working class family living in Sham Shui Po during the turbulent 60s. While Mr. and Mrs. Law toil in their small shoe store, their children gradually learn about life’s ironies and hardships. A popular hit that continues to touch audiences with its universal themes and bittersweet sentiments. 光陰是神偷，羅啟銳專欄隨筆細數童年趣聞，時機成熟童稚目光將自己與家人深水埗的掙扎歲月搬上大銀幕，懷念被偷走的爸爸及哥哥，時代身影流光捕捉，月餅會、颱風溫黛、貪污警察、電台點唱等，要歲月神偷一一交出贓物。影片上映時遇上本土懷舊風潮，帶出本體性話題討論，竟然令政府放棄地產項目落實保育中環永利街。羅啟銳三顧草廬邀請吳君如，坦言她像他媽媽，《麥兜故事》麥太只是聲演，如今羅太正式打開吳君如的媽媽階段，觀眾出奇受落。 Echoes of the Rainbow 歲月神偷導演 Dir: 羅啟銳 Alex Law 粵語 Cantonese 2010 35mm 117min 演員 Cast: 任達華 Simon Yam、吳君如 Sandra Ng、李治廷 Aarif Lee Stepping behind the camera, Ng produced this stirring biopic of Hong Kong sprinter So Wa-wai, who won multiple gold medals and set world records in the Paralympic Games. Ng also co-stars as Wa-wai’s mother, who must persevere when her son is born jaundiced and afflicted with cerebral palsy. Yet with her unwavering support, Wa-wai is able to take his place in Hong Kong history. Succeeding as both an inspirational sports film and a socially-conscious drama, Zero to Hero augurs well for Ng’s future filmmaking career. 尹志文專心致志開發蘇樺偉奮鬥故事，對屢破世界紀錄的過程瞭如指掌外，更明白背後一家人的生活追求、互相抵觸才是戲肉。蘇媽堅強面對誕下四肢痙攣兒子的遺憾，發現小樺偉天賦，盡量日夜陪跑，間接忽略弟弟。 4 x100 第一金改寫輸在起跑線的命途，然而社會對殘奧全職運動員關注度欠奉，金牌得主走去當速遞員，拍廣告時母子衝突，媽媽才知道自己不比兒子懂事。勵志精神獲得古天樂歡心，推薦給吳君如，她毅然接命演出及監製，疫情下及時來個加油打氣。 Zero to Hero 媽媽的神奇小子導演 Dir: 尹志文 Jimmy Wan 粵語 Cantonese 2021 DCP 103min 演員 Cast: 吳君如 Sandra Ng、張繼聰 Louis Cheung 、梁仲恆 Leung Chung hang Ng and fellow award-winner Leung headline director Lam’s quirky action-comedy-drama, which deconstructs the Hong Kong gangster genre in a sharp and entertaining manner. When triad boss Jim Yam learns of an impending attempt on his life, he uses his final hours to take stock of his life and relationships, particularly with his wife and co-conspirator Sophie. Led by Leung and Ng, a superlative supporting cast adds prestige and star power to this satirical, savage, and always inventive film. 千禧時期反英雄眾聲喧嘩，遂有狗熊英雄二為一體「符碌」上位的任因久。江湖事跡非你一向的義氣想像，每個堂口都拜關公，邊個估到他偏偏揀姓任的來打救？更甚是一代忠義王竟被奚落老派，只好黯然離去。吳君如演英國老泥妹蘇花，性格立體有層次，跟任因久回港東山再起共患難也共富貴，風雲變色時被綁架，受辱過程留白是摩登一筆。陳慶嘉錢小蕙的劇本，自有走險而不偏頗的章法，林超賢冷峻鏡頭和敘事，收放淡定玩味十足，是省察香港次類型的一時佳作。 Jiang Hu~ “The Triad Zone” 江湖告急導演 Dir: 林超賢 Dante Lam 粵語 Cantonese 2000 DCP 108min 演員 Cast: 梁家輝 Tony Leung Ka fai、吳君如 Sandra Ng 、黃秋生 Anthony Wong Chau sang © 2010 Fortune Star Media Limited. All Rights Reserved.

73 主辦 Presented by 資助 Supported by 場地夥伴 Venue Partner 嘉賓 Guest: 吳君如 Sandra Ng 主持 Moderator: 登徒 Thomas Shin 27/8 (六 Sat) 4pm M+ 大台階 Grand Stair, M+ 《4 面夏娃》放映後 After the screening of 4 Faces of Eve 粵語主講，免費入場 Conducted in Cantonese. Free admission. 逾 170 頁內容包括： • 吳君如詳盡專訪 • 合作夥伴劉鎮偉、陳可辛、奚仲文、鄭中基、鄒凱光等訪問 • 評論文章（登徒、張偉雄、查柏朗、喬奕思） • 十部精選放映作品詳盡介紹特刊 Catalogue Chinese version only $120 電影節網站及香港電影評論學會網店有售 Available at www.hkiff.org.hk and https://hkfilmcritics.boutir.com/

回歸廿五載，本地電影人的努力成果有目共睹。每部出色的作品都標誌着香港電影在題材、風格以至美學上的創新突破，同時亦捕捉了城市、社會以至民生多年來的不同面貌。《細路祥》及《麥兜故事》從孩子的目光拍出地道草根生活感，亦觀照時代變遷，是貼切的香港寫照。《少林足球》以武俠片貫徹動漫風格，勵志與搞笑合一，令人看得笑中有淚；《桃姐》則透過家傭與少主情同母子的關係，體現人間有愛。同樣超越警匪類型自成一格，《 PTU 》以冷峻風格營造出緊張氛圍，《旺角黑夜》則融合寫情手法及地域實感，交錯出城市與人性的複雜面相。《投名狀》及《一代宗師》分別回溯清末及民國的動盪時局，反思歷史的缺口及文化身份的根本，展示非凡視野。《踏血尋梅》及《少年的你》代表着新銳導演的澎湃創意及個人風格，細膩道出年輕一代處身社會邊緣的孤獨絕望。是次活動由創意香港與香港國際電影節協會合辦，除放映以上十部港產佳作之外，同時亦舉辦攝影展，以四位劇照師的另一種光影藝術，展現香港電影的非凡魅力。協辦 In Collaboration With主辦 Presented by FreeScreenings

PAN-CHINESE CINEMA 華語電影

Looking back over the past 25 years, the Hong Kong film industry has gone through many changes, from entertaining genre productions to experimental independent films, to co-productions with the mainland and creative personal stories from a younger generation of filmmakers. Through their stories and characters, the filmmakers reflect on the changing landscape of our city, while capturing the pivotal moments in the history of Hong Kong cinema and in the lives of Hong Kong people – from authentic slice-of-life dramas through children's innocent eyes, uproarious comedies, poignant melodramas, ground-breaking crime thrillers, and riveting period pieces to the vivid portraits of the younger generation. This special programme features the seminal works that offer insights into a new vista of Hong Kong cinema. Create Hong Kong and the HKIFFS are pleased to co-present ten screenings that exemplify the diversity and creativity of post-1997 Hong Kong cinema, alongside an exhibition of film and behind-the-scenes stills by four renowned unit photographers.

Making Waves - Navigators of Hong Kong Cinema 光影浪潮香港電影新動力

76 MAKING WAVES - NAVIGATORS OF HONG KONG CINEMA 光影浪潮香港電影新動力

provokes

experience

陳果「香港三部曲」完結篇，承接《香港製造》和《去年煙花特別多》的個人獨特風格，既有不吐不快的牢騷，又活現地道草根生命力，引發港人共鳴。故事由年幼的祥仔帶出，以稚子視角看時代

周星馳正式掛上導演銜頭，以絕地反擊的精神，為金融風暴後陷於谷底的港人打氣。港式武俠片與日本動漫《足球小將》肌理融會貫通，電腦特技恰如其分，勵志與搞笑猶如腰馬合一。重拾為世不容小子戲路，周星馳對喜劇和戲劇的掌握，令一眾綠葉群戲神采飛揚，各有發揮空間。以少林武學生死存亡來借題發揮，把香港情懷全然投射其中。同門師兄弟落泊江湖委曲求全，終能備受認同，重拾專業自信，不做沒有夢想的鹹魚，足教歷盡滄桑的港人看得笑中有淚。 Shaolin Soccer 少林足球導演 Dir: 周星馳 Stephen Chow 粵語 Cantonese 2001 DCP 112min 演員 Cast: 周星馳 Stephen Chow、趙薇 Zhao Wei、吳孟達 Ng Man tat、黃一飛 Wong Yat fei Good-natured,

any

百分百小市民寓言，亦是本土創造力的展現。動畫濃縮香港世情變化，港人自我形象由李麗珊奪奧運金牌的高峰滑落，變成經濟困局下的負資產。無論是「馬爾代夫」或「尋找黎根」情節，既感人亦自嘲，配上不落俗套的結局，港人難以不為所動。配音尤為精采，亦拍出極精妙的街頭盤旋鏡頭及一應熟悉的地道文化，由茶餐廳、蛋撻、廣告牌到街招等，構成一個虛構但半帶現實的世界。麥兜已不是虛構角色，而是包含了此地境遇的象徵，是最為貼切的香港寫照。 My Life as McDull 麥兜故事導演 Dir: 袁建滔 Toe Yuen 粵語 Cantonese 2001 DCP 72min 聲演 Voice Cast: 李晉緯 Lee Chun wai 、吳君如 Sandra Ng 、黃秋生 Anthony Wong Chau sang A missing gun leads to trouble for a lone cop, feuding police squads, and rival gangs, as the potential for violence - if not all-out war - spills into the streets of Tsim Sha Tsui. A festival favourite, PTU earned worldwide acclaim, rocketing director Johnnie To to international stardom and creating legions of new Hong Kong cinema fans enthralled by its noirish tone, subtle genre subversion and unabashed cool. Amidst To’s eclectic, widely-celebrated filmography, PTU remains an endlessly rewatchable standard bearer. 反黑組肥沙展在後巷被伏擊而失槍，牽動了藍帽子、反黑組、重案組、黑幫大佬幾線發展。時空壓縮在尖沙咀一夜間，為的是貫徹「穿得上制服就是自己人」的自保意識，亦承接因果宿命的母題，凸顯人為與命運對弈的不可測。杜琪峯延續《鎗火》的冷峻風格，靜態之下暴力蟄伏，電影的空間意識更見提升，在燈光感染下，深夜的香港街道變身冷漠的罪惡森林，也是藍帽子巡邏時施展身體語言的舞台。大廈內以電筒照明摸索前進的室內戲，視覺佈局亦同樣出色。 PTU 導演 Dir: 杜琪峯 Johnnie To 粵語 Cantonese 2003 DCP 88min 演員 Cast: 任達華 Simon Yam、邵美琪 Maggie Siu、林雪

“still

黑幫聘內地殺手來港解決對頭人，可是要找的找不到，不想找的偏偏遇上。旺角夜幕低垂之際，黑白兩道逃不脱孽緣羅網。爾冬陞重拾一度流行的旗兵題材，融合他擅長的寫情手法及地域實感，動感場面暴烈爽快，直叫觀眾驚心動魄，更顯功力是其冷凜凝重態度，通過灰暗影像與迫人劇力，細膩聚現宿命主題，情緒毫不沉溺，卻營造出沉痛的悲劇意味，拍出歷遍世事欲救無從的滄桑，凸顯其中對人性的領會。演員盡心發揮，亦足證爾冬陞導技圓熟，情懷收放有致。 One Nite in Mongkok 旺角黑夜導演 Dir: 爾冬陞 Derek Yee 粵語 Cantonese／普通話 Putonghua 2004 DCP 110min 演員 Cast: 吳彥祖 Daniel Wu、張柏芝 Cecilia Cheung、方中信 Alex Fong、錢嘉樂 Chin Kar lok Following

劃上，拍出港片罕見的生活感。環繞茶餐廳的坊眾如棺材舖老兄弟、菲傭、街頭惡霸等角色的關係更是絲絲入扣，流露一種逐漸被遺忘，只有在老區才得以延續的人情味。 Little Cheung 細路祥導演 Dir: 陳果 Fruit Chan 粵語 Cantonese 1999 DCP 117min 演員 Cast: 姚月明 Yiu Yuet ming、麥惠芬 Mak Wai fan、麥雪雯 Mak Suet man

decades after

adventures have channelled more

beginnings,

Chan’s

creation,

films. This animated

life,

Colourful,

Writer-director Stephen Chow scored a resounding goal with the uproarious Shaolin Soccer, which shattered local box office records while winning seven statuettes at Hong Kong Film Awards. Chow won Best Actor for his role as a down-and-out Shaolin monk who recruits his former comrades to form a kung-fu-supercharged football team. winning combination of zeroto-hero martial arts flick, Japanese anime-like sports film, CGI effects spectacle, and Hong Kong cinema meta-movie, Shaolin Soccer kicks grass” initial release. gormless piglet McDull just a hand-drawn but his big-screen of the unique Hong Kong than live-action classic chronicles McDull’s working class as he and his mother brave humble Kowloon from the mundane and ridiculous to the lyrical and sublime. richly detailed, and not just for kids, My Life as McDull delightfully and poignantly represents post-1997 Hongkongers of all ages and all stripes, for better or worse. Lam Suet Director Derek Yee elevates a well-worn Hong Kong film genre to formidable heights with this taut crime thriller about a hitman and a prostitute on the run from both the cops and triads. Yee takes what could be a wrong-side-of-the-tracks romance and instead crafts something more, thanks to strong social commentary and complex characterisation, as well as a dynamic portrait of densely-populated Mong Kok. Resolving with a stark yet bleak finale, this exhilarating film long after its final frame. Made in Hong Kong and The Longest Summer, Fruit Chan rounded out his Reunification Trilogy with this allegorical ode to working class Hongkongers. This slice-of-life drama channels deep affection for everyday Hong Kong life, following its young protagonist as he defies his parents, befriends an illegal immigrant, messes with small-time gangsters, and faces an unknown future. Through his bittersweet exploits, Chan captures the political, economic and cultural upheavals of a city and people in transition. 變遷：包括新馬仔家人爭產、無證兒童問題等，在寫實處境、非職業演員運用及一眾輔助角色的刻

77 MAKING WAVES - NAVIGATORS OF HONG KONG CINEMA 光影浪潮香港電影新動力 From international awards to local acclaim and exceptional box office receipts, Ann Hui’s A Simple Life has proven itself to be the little film that could. This deceptively simple film about Ah Tao, long-time domestic helper to the family of Roger Lee, is raised to remarkable heights by its rich cultural detail and Ann Hui’s perceptive, low-key direction. This sizable commercial hit received five prizes at Hong Kong Film Awards, including Best Picture, and the formidable Deanie Ip took home Best Actress Award at Venice. 生有時，死有時，許鞍華在《女人，四十。》及《天水圍的日與夜》後，再次把焦點放在平凡小人物身上，描寫照顧者與被照顧者的身份逆轉，展示長者世界的孤獨，以及面對生老病死的從容。改編真人真事，家傭桃姐與少主情同母子，一天她中風送院，並提出入住護老院舍，面對陌生環境與各色院友，她強裝鎮定努力適應。影片從生活層面反映香港人口老化現狀，也透過桃姐角色體現人間有情。兩位主角之間固然充滿默契，葉德嫻更憑此片奪得威尼斯影后殊榮。 A Simple Life 桃姐導演 Dir: 許鞍華 Ann Hui 粵語 Cantonese 2011 DCP 115min 演員 Cast: 劉德華 Andy Lau、葉德嫻 Deanie Ip With dazzling visuals and sublime action sequences, martial arts drama The Grandmaster represents a bold leap forward for celebrated Hong Kong auteur Wong Kar Wai. Framed around the life of revered wing chun practitioner Ip Man, this sumptuous epic explores the lives of martial artists, who are driven and also stifled by the “moral codes” of their competitive, hierarchical world. Also receiving international acclaim, The Grandmaster was recognised with twelve wins at Hong Kong Film Awards. 念念不忘，必有迴響。籌備及拍攝經年的巨構，承襲王家衛一貫風格，開啟民國武林視角，梳理一代武者逃避戰亂南下香港傳承武學的故事。攝影華麗奪目，美術一絲不苟，金句教人回味。借助《義薄雲天》與《其後》配樂，烘托宮二與葉問的緣份與遺憾，一個選擇留在屬於自己的年月，一個走上「見自己，見天地，見眾生」的宗師之路。同時思考動盪時局裏香港文化身份的根本，直言南拳豈止北傳，強調放眼世界，不把自己局限在偏狹的南北對立與國族想像。 The Grandmaster 一代宗師導演 Dir: 王家衛 Wong Kar Wai 粵語 Cantonese／普通話 Putonghua 2013 DCP 130min 演員 Cast: 梁朝偉 Tony Leung Chiu wai、章子怡 Zhang Ziyi、張震 Chang Chen Courtesy of Media Asia Film Distribution (HK) Limited A teenage prostitute is murdered, her body cut up and flushed down the toilet, and her head thrown into Victoria Harbour. Based on a true crime, Yung’s thriller focuses not on the investigation, but on the victim and her family, the cop and his family, and the killer who lacks a family. A portrait of Hong Kong residents and wanderers that progresses as it digresses, revealing complicated lives and actions, out of order and beyond reason. Named Best Picture of 2015 by the Hong Kong Film Critics Society. 以真實援交少女肢解案為藍本，翁子光拍出不一樣的奇案電影。少女遇害，兇手自首，人證物證俱在，臧 Sir 追查死因，更想追問兇案為何發生，追問人性底蘊與生存意義。案情既殘忍又魔幻，影片呈現子聰肢解佳梅的血腥過程，也在解剖這兩個處於社會邊緣的孤獨靈魂，如何被困在看不見風景的房間，以肉體暫借溫暖，以毒品尋求慰藉，到頭來陷於絕望之境，跌入人心的黑暗角落。 Port of Call (Director’s Cut) 踏血尋梅（導演版）導演 Dir: 翁子光 Philip Yung 粵語 Cantonese ／普通話 Putonghua 2015 DCP 120min 演員 Cast: 郭富城 Aaron Kwok、春夏 Jessie Li、白只 Michael Ning 、金燕玲 Elaine Jin Actor-turned-director Derek Kwok-cheung Tsang made Hong Kong cinema history with only his second solo directorial effort, when Better Days earned an Academy Award nomination for Best International Feature Film, making him the first Hong Kong-born filmmaker to receive the honour. This unflinching and poignant youth drama follows a straight-A student targeted by vicious bullies, and the small-time hoodlum who becomes her unlikely protector. Winner of eight statuettes at Hong Kong Film Awards. 在下墮的身影，人們看見飛翔的希望，但在希望實現前，還要擁抱幾許失序的悲涼？弄出人命的校園欺凌，引發錯綜複雜的人際衝突。在大人有意無意視而不見的暗角裏，少年們為了自保彼此傷害；有人在暴力中相濡以沫，有人在人生規劃的關口俯首認命，世代間的對立令成長付上慘重代價。曾國祥在《七月與安生》後處理女性情感與成長傷痕，風格更見成熟。周冬雨停不了的淚眼、易烊千璽的狂情本色，成就一個可供雙面解讀的故事。獲提名奧斯卡最佳國際影片。 Better Days 少年的你導演 Dir: 曾國祥 Derek Kwok cheung Tsang 普通話 Putonghua 2019 DCP 135min 演員 Cast: 周冬雨 Zhou Dongyu、易烊千璽 Jackson Yee、尹昉 Yin Fang、黃覺 Huang Jue Winner of eight Hong Kong Film Awards, Peter Ho-sun Chan’s The Warlords is a powerful and assured reimagining of Chang Cheh’s heroic bloodshed classic The Blood Brothers. Set during the Taiping Rebellion, the film concerns three warriors whose brotherhood is tested when lust and greed threaten to tear them apart. Lauded for its riveting drama, eye-popping action, and intricate character dynamics, as well as a career-best performance from Jet Li, whose turn as a duplicitous general earned him the Best Actor statuette. 表面上以張徹經典《刺馬》為故事原型，改編清末四大奇案之一的刺馬案，但引入《水滸》元素，令兄弟情義的矛盾，增添複雜層次。李連杰飾演亂世梟雄龐青雲，為求目的不擇手段，「讓天下老百姓都不受欺負」只是藉口，不但觸及政治野心家欺人必先自欺的道理，以及原則與妥協等倫理學課題，更打開反思歷史的缺口。戰場廝殺拍出實感，更難得是視野的提升，在忠義不再的時代，面對殘酷政治現實，置入笑裏藏刀的官場黑暗，拍出了引人深思的命運哀歌。 The Warlords 投名狀導演 Dir: 陳可辛 Peter Ho sun Chan 普通話 Putonghua 2007 35mm 127min 演員 Cast: 李連杰 Jet Li、劉德華 Andy Lau、金城武 Kaneshiro Takeshi 、徐靜蕾 Xu Jinglei Persons Aged 18 and Above Only 只准18歲或以上人士

PAN-CHINESE CINEMA 華語電影 Chinese-language Restored Classics 華語修復經典

Entertainment

[...] Infernal Affairs called out for an American remake because it had already smoothly absorbed some of Hollywood’s norms.

影片的懸疑部分均以優雅的形式表達。《無間道》採用雙主角制，奠下了三部曲沿用的成雙及對稱原則。然後，這雙重結構擴充到警察對臥底、黑幫對黑幫、黑幫老大對黑幫老大、倪家對韓家、內務部對保安部、劉建明對楊錦榮。甚至有兩名同叫 Mary 的女角。面對所有這些劇情線，要監控相關資訊的流動，對比兩名主角的處境和戰略，從而將兩大時段連結起來，交叉剪接顯得十分重要。與此同時，手錶、撲克牌、電梯、天台、監控攝錄機、敬禮，以及最重要的，台灣流行曲〈被遺忘的時光〉，紛紛成為維繫角色和處境的母題。對白的串連和影像的連繫提供了流暢的轉換。無論是靠影像冒現或憶起對白而帶出的閃回，中斷了當下的情節，達到重申資訊或澄清角色思緒的效果。以上種種顯然從美國電影借來的手法，其流暢運用的程度，於現代香港電影實屬罕見。《無間道》吸引美國人重拍它一次，因為它本身已成功吸收了不少荷里活規範。大衛博維爾《香港電影王國：娛樂的藝術》 Alan MAK was born in 1965. He is both a director and scriptwriter. 麥兆輝 1965 年出生，演藝學院表演系畢業。98 年導演首作《追兇 20 年》，代表作有《無間道》三部曲及《竊聽風雲》三部曲。 Andrew LAU was born in 1960. He started as an assistant cinematographer and began directing films in 1990. 劉偉強 1960 年出生，資深攝影指導。 90 年導演首作《朋黨》，代表作有《古惑仔》系列及《無間道》三部曲。 SELECTED FILMOGRAPHY 主要作品 2002 03 Infernal Affairs trilogy ( co dir ) 無間道三部曲（合導） 2005 Initial D (co dir) 頭文字 D（合導） 2009 13 Overheard trilogy (co dir ) 竊聽風雲三部曲（合導） 2019 Integrity 廉政風雲：煙幕 SELECTED FILMOGRAPHY 主要作品 1996 Young and Dangerous 古惑仔之人在江湖 2002 03 Infernal Affairs trilogy ( co dir ) 無間道三部曲（合導） 2005 Initial D (co dir) 頭文字 D（合導） 2021 Chinese Doctors 中國醫生

79 CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 Infernal Affairs 無間道 2002 | Cantonese | DCP | Colour | 98 min Director Andrew Lau, Alan Mak Producer Andrew Lau Scriptwriter Alan Mak, Felix Chong Cinematographer Andrew Lau, Lai Yiu-fai Editor Danny Pang, Pang Ching-hei Production Designer Choo Sung-pong, Wong Ching-ching Music Chan Kwong-wing Sound Kinson Tsang Cast Tony Leung Chiu-wai, Andy Lau, Anthony Wong Chau-sang, Eric Tsang Production Basic Pictures World Sales Media Asia 導演劉偉強、麥兆輝監製劉偉強編劇麥兆輝、莊文強攝影劉偉強、黎耀輝剪接彭發、彭正熙美術趙崇邦、王晶晶音樂陳光榮音響曾景祥演員梁朝偉、劉德華、黃秋生、曾志偉

The suspense is given an elegant form. The first film [Infernal Affairs], presents two protagonists and lays down the principle of doubles and symmetries that will rule the series. Then the dualities multiply: cops versus crooks, gang versus gang, gang boss versus gang boss, Ngai family versus Hon Sam family, Internal Affairs versus Security, Lau versus Yeung. There are even two women named Mary. Given all the lines of action, crosscutting is crucial to monitor the flow of information, to contrast the two protagonists’ situations and stratagems, and, eventually, to tie together two large-scale periods of time. Meanwhile, wristwatches, playing cards, elevators, rooftops, surveillance cameras, salutes, and above all the Taiwanese pop tune Forgotten Times create motifs that bind characters and situations. Fluid transitions are provided by dialogue hooks and visual links. Flashbacks, either as bursts of images or recalled scraps of dialogue, interrupt present action to reiterate information or clarify a character’s stream of thought. All of these tactics, openly borrowed from American films, are presented with an unassuming ease seldom seen in modern Hong Kong films.

David Bordwell Planet Hong Kong: Popular Cinema and the Art of [影評摘錄]

《無間道》是類型電影，它是港產電影鍾情的警匪臥底類型，但以國際級數的製作來包裝。《無間道 II 》也是類型電影，它回顧兼綜合了香港二十年來的江湖類型史，並「借外諷內」，以《教父》的形式甚至場面來抒發對香港當下處境的感慨。類型電影之所以能夠成形，因為它累積了自己的歷史，亦同時記載了一個地方的歷史。尊重類型電影，其實就是尊重歷史。類型電影亦是多產的國家電影工業的結晶。若要為香港曾經與美國和印度齊名，成為世界三大電影生產地而驕傲，也要懂得去尊重香港的類型電影史。《無間道 II 》令人有閱讀上的困難，因為它以三個主角來綜合三個港產江湖類型。韓琛是英雄片，黃志誠是梟雄片，倪永孝是黑幫片，再加上劉建明和 Mary 在避難屋似《阿飛正傳》，韓琛和倪永孝的最後決戰似賭檯話事啤，還有《古惑仔》式穿插人群中的拍攝手法，合起來就是挑戰觀眾的類型記憶和多線合一的接收能力。馮若芷 Alan MAK was born in 1965. He is both a director and scriptwriter. 麥兆輝 1965 年出生，演藝學院表演系畢業。98 年導演首作《追兇 20 年》，代表作有《無間道》三部曲及《竊聽風雲》三部曲。 Andrew LAU was born in 1960. He started as an assistant cinematographer and began directing films in 1990. 劉偉強 1960 年出生，資深攝影指導。 90 年導演首作《朋黨》，代表作有《古惑仔》系列及《無間道》三部曲。 SELECTED FILMOGRAPHY 主要作品 2002 03 Infernal Affairs trilogy ( co dir ) 無間道三部曲（合導） 2005 Initial D (co dir) 頭文字 D（合導） 2009 13 Overheard trilogy (co dir ) 竊聽風雲三部曲（合導） 2019 Integrity 廉政風雲：煙幕 SELECTED FILMOGRAPHY 主要作品 1996 Young and Dangerous 古惑仔之人在江湖 2002 03 Infernal Affairs trilogy ( co dir ) 無間道三部曲（合導） 2005 Initial D (co dir) 頭文字 D（合導） 2021 Chinese Doctors 中國醫生

Infernal Affairs II poses some reading difficulties because it consolidates three local genres, represented by its three leads. Hon Sam represents the hero genre, Wong Chi-shing the mob boss genre and Ngai Wing-hau the gangster genre. The part of Lau Kinming and Mary in the refuge is reminiscent of Days of Being Wild and the showdown between Hon Sam and Ngai Wing-hau not unlike showing hands on the gambling table. Then there is the Young and Dangerous style of shooting, amidst the crowds. It challenges the audience’s genre knowledge and understanding of multi-lateral development.

80 CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 2003 | Cantonese | DCP | Colour | 119 min Director Andrew Lau, Alan Mak Producer Andrew Lau Scriptwriter Alan Mak, Felix Chong Cinematographer Andrew Lau, Ng Man-ching Editor Danny Pang, Pang Ching-hei Production Designer Bill Lui Music Chan Kwong-wing Sound Kinson Tsang Cast Anthony Wong Chau-sang, Eric Tsang, Carina Lau, Francis Ng Production Basic Pictures World Sales Media Asia 導演劉偉強、麥兆輝監製劉偉強編劇麥兆輝、莊文強攝影劉偉強、伍文拯剪接彭發、彭正熙美術雷楚雄音樂陳光榮音響曾景祥演員黃秋生、曾志偉、劉嘉玲、吳鎮宇

Infernal Affairs II 無間道 II Infernal Affairs is a genre film. It belongs to the undercover genre that local cinema never tires of, and with an international standard package. [...] Infernal Affairs II is also a genre film. It is a consolidation of twenty years of the local gangster genre, and a satire of the current situation, through the format and even scenes “borrowed” from The Godfather. […] A genre only comes into being after there is an accumulation of history, which is also the history of the place. Respecting genre films means respecting history. Genre films are exclusive to countries with a massive film industry. If we are proud of once being on a par with Hollywood and Bollywood, then we should respect our genre films.

Athena Tsui [影評摘錄]

started as an assistant cinematographer and began directing films in 1990. 劉偉強 1960 年出生，資深攝影指導。 90 年導演首作《朋黨》，代表作有《古惑仔》系列及《無間道》三部曲。 SELECTED FILMOGRAPHY 主要作品 2002 03 Infernal Affairs trilogy ( co dir ) 無間道三部曲（合導） 2005 Initial D (co dir) 頭文字 D（合導） 2009 13 Overheard trilogy (co dir ) 竊聽風雲三部曲（合導） 2019 Integrity 廉政風雲：煙幕 SELECTED FILMOGRAPHY 主要作品 1996 Young and Dangerous 古惑仔之人在江湖 2002 03 Infernal Affairs trilogy ( co dir ) 無間道三部曲（合導） 2005 Initial D (co dir) 頭文字 D（合導） 2021 Chinese Doctors 中國醫生

[...] It’s not a clean break with the past for Lau Kin-ming. The moles that Hon Sam puts in the police force, once his comrades, are now obstacles to his new life. He manages to take one out in the lift, but what about the other? From the very beginning of Infernal Affairs III, the audience is led into Lau Kin-ming’s situation – his paranoid search for the “other”. But the search leads him back to the identity he puts an end to. In the film, he looks into a mirror and sees Chan Wing-yan. Infernal Affairs III is actually Lau Kin-ming’s descent into a paranoid schizophrenia. He wants a clean break from the past, but he has qualms making the jump. All the signs or evidence show that Yeung Kam-wing (Leon Lai) is the “other” (he is not, he just trades information with Hon Sam). By seeing Li Sam-yee, Chan Wing-yan’s shrink, and peeking into his therapy record, Lau Kin-ming gradually turns himself into Chan Wing-yan (the Chan Wing-yan he imagines). He projects the identity he wants to discard – his negative side –onto Yeung Kam-wing. In the end, he sees Yeung Kam-wing as Lau Kin-ming, and he has become Chan Wing-yan. Long Tin [影評摘錄] born in 1960. He

81 CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 Infernal Affairs III 無間道 III 終極無間 2003 | Cantonese | DCP | Colour | 118 min Director Andrew Lau, Alan Mak Producer Andrew Lau, Gao Fengjun Scriptwriter Alan Mak, Felix Chong Cinematographer Andrew Lau, Ng Man-ching Editor Danny Pang, Pang Ching-hei Production Designer Bill Lui Music Chan Kwong-wing Sound Kinson Tsang Cast Tony Leung Chiu-wai, Andy Lau, Leon Lai Production Basic Pictures World Sales Media Asia 導演劉偉強、麥兆輝監製劉偉強、高鳳俊編劇麥兆輝、莊文強攝影劉偉強、伍文拯剪接彭發、彭正熙美術雷楚雄音樂陳光榮音響曾景祥演員梁朝偉、劉德華、黎明

劉建明畢竟「腳跟未淨」，韓琛（曾志偉飾）留在警界的臥底，以前是他的同志，今天卻成了他歸化的潛在絆腳石。升降機內解決了一個（林家棟），以後呢？《無間道 III 終極無間》一開始，便讓觀眾進入劉建明的處境──神經兮兮地找尋「他者」，而這個找尋，卻令他反彈到他一手結束的身份；片中劉建明照鏡看見鏡中的陳永仁，一切昭然若揭。整齣《無間道 III 終極無間》，無疑是劉建明杯弓蛇影，逐步走進精神分裂狀態的故事。他要告別過去，但總覺得雪擁藍關（馬不前），種種「跡象」、「證據」顯示「那個人」便是楊錦榮（黎明飾）（但其實他只是和韓琛交換情報，不是韓琛的臥底），而在跟陳永仁心理醫生李心兒（陳慧琳飾）交往，偷看陳永仁治療紀錄的過程中，劉建明更逐步墮入陳永仁的心境（其實是他想像的陳永仁心境），愈來愈覺得自己是陳永仁，至於楊錦榮，則變成他想拋棄的身份接收者──他把自己的負面投射到楊錦榮身上，以至最後他視楊錦榮為劉建明，而自己則完完全全變成陳永仁。朗天《2003香港電影回顧》 Alan MAK was born in 1965. He is both a director and scriptwriter. 麥兆輝 1965 年出生，演藝學院表演系畢業。98 年導演首作《追兇 20 年》，代表作有《無間道》三部曲及《竊聽風雲》三部曲。 Andrew LAU was

Ann Hui’s Boat People: Documenting Vietnamese Refugees in Hong Kong Looking Back on the Vietnam War: Twenty-First Century [導演訪問] drama series and short on 16mm for TVB and RTHK. She won Best Director at the Hong Kong Film Awards six times, and in 2020 she became the first female director to receive the Golden Lion for Lifetime Achievement Award at Venice.

82 CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 1982 | Cantonese | DCP | Colour | 109min Director Ann Hui Producer Hsia Meng Scriptwriter Chiu Kang-chien Cinematographer Wong Chung-gei Editor Kin Kin Production Designer Tony Au Music Law Wing-fai Cast George Lam, Season Ma, Andy Lau, Cora Miao Production Greenworld Film Co., Ltd. World Sales Edko Films 導演許鞍華監製夏夢編劇戴安平攝影黃宗基剪接健健美術區丁平音樂羅永暉演員林子祥、馬斯晨、劉德華、繆騫人

documentaries

我想將《投奔怒海》拍得比較寫實，畫面深度要足夠，能見到多些闊些的背景，因為是個 epic。在電影裏，社會環境同個人命運的關係好緊密。我們有資金，可以拍些比較大的場面。雖然平鋪直敘，但場面本身有變化。我記得有六場比較動盪的戲，譬如一場：街市拉人，一場是弟弟撿垃圾時被炸死，還有共軍入城、主角上難民船等。我想每一個場面的表現手法都應該有分別。我當時只是忠實地去拍一個越南故事，沒想過要影射大陸，但是電影出來後人人都說似寫大陸，不過當時真是無此用心。《投奔怒海》不是要突出共產黨政治，而是生活感。戲的生活感突出，只需花少許筆墨，劇情裏點滴的壓迫感就可以烘托出來，強而有力。我無意好具體細微去講壓迫，相反是好具體而細微地刻劃生活。我看過很多有關越南生活的紀錄片，做了很多資料搜集，因為我好感興趣，在街上見到人在洗東西，橋又有各樣形狀，我好有興趣，戲寫得真實，所以人們覺得壓迫感也真實。我用了好多工夫去呈現一個我想像中的越南，結果人們覺得好真，我自己也好奇怪，其實我也未去過越南。節錄自鄺保威編的《許鞍華說許鞍華》 Ann HUI was born in Anshan in 1947. Her directorial work began with

Boat People 投奔怒海 Boat People contains one of the earliest cinematic representations of Vietnamese refugees, and it is the culmination of Hui’s “Vietnam trilogy,” following The Boy from Vietnam and The Story of Woo Viet. The trilogy’s final film distils the thematic concerns of its predecessors and focuses most explicitly on the driving forces of refugee migration. It was produced when the majority of those undergoing migration did not have access to the means of self-representation, when they were viewed primarily through news headlines and government policies. […] Boat People remains a rare and foundational text, one that portrays Vietnamese refugees as subjects worthy of narrative and ethical Huicontemplation.hassaid,“It’s just that I am trying to explain this particular phenomenon of the boat people and their fleeing from the country, and to make people understand why they flee. And that has the immediate effect of making the Hong Kong people much more sympathetic.” To elicit such sympathy, the film tells a human story, going behind the “refugee” label to illuminate the struggles, motivations, and desires of people uprooted from home. […] Almost fifty years after the “end” of the Vietnam War, Hui’s film remains an important testament to the legacies of war, one focused not on the drama of geopolitics but on the enormous costs to human lives.

許鞍華 1947 年生於遼寧省鞍山，香港長大，曾為無綫電視、廉政公署及港台電視部拍攝菲林單元劇。她曾六度奪得香港電影金像獎最佳導演，並於 2020 年成為首位獲威尼斯影展終身成就獎的女導演。 SELECTED FILMOGRAPHY 主要作品 1979 The Secret 瘋劫 1982 Boat People 投奔怒海 1995 Summer Snow 女人，四十。 2008 The Way We Are 天水圍的日與夜 2011 A Simple Life 桃姐

Perspectives

婁燁 1965 年生於上海，89 年北京電影學院導演系畢業，初拍短片，94 年完成首部長片《危情少女》。他是中國第六代電影導演代表人物之一，第三部劇情長片《蘇州河》於鹿特丹電影節獲得最高榮譽老虎大獎。 SELECTED FILMOGRAPHY 主要作品 2000 Suzhou River 蘇州河 2006 Summer Palace 頤和園 2009 Spring Fever 春風沉醉的夜晚 2014 Blind Massage 推拿 2018 The Shadow Play 風中有朵雨做的雲 2019 Saturday Fiction 蘭心大劇院

The Shanghai you present in Suzhou River is a city of criminals, smugglers and seedy night-clubs. Is this your experience of the city? Every city, like every person, wears different clothes, or different masks. Who is to say which one is the real one? Is Shanghai this modern city, as you say, full of smugglers and petty criminals? If you take 8 million people, it’s a culture constantly changing. Too big to be a microcosm. The only constant in the city is the Suzhou River… The Suzhou River has always fed Shanghai, but now it doesn’t feed it so much literally “with food from the interior” (of China) but metaphorically. The water is the blood of the city. It is also a story about four young people with no real direction in their lives. They’re lonely, they live rather aimlessly with no real plans for the future. Is this your view of the current generation of young Chinese? Yes, but this is a very simplistic way to look at it. It is my statement. But the film is shot from the point of view of “I”, who is a videographer, so more or less also a young filmmaker, so what we see is my perception of what he perceives... “I”, the narrator, the camera, is caught up in his own story. By looking out of his window, he is also looking into himself. Interview with Lou Ye [導演的話] made his graduation film, Weekend Lover (94). Renowned as one of China’s “Sixth Generation” of filmmakers, he produced the ground-breaking television series Super City in the mid-nineties.

83 CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 Suzhou River 蘇州河 2000 | Putonghua | DCP | Colour | 80 min Director Lou Ye Producer Nai An, Philippe Bober Scriptwriter Lou Ye Cinematographer Wang Yu Editor Karl Riedl Production Designer Li Zhuoyi Music Jörg Lemberg Sound Xu Peijun Cast Zhou Xun, Jia Hongsheng, Hua Zhongka Production Dream Factory, Essential Filmproduktion World Sales Coproduction Office 導演婁燁監製耐安、 Philippe Bober 編劇婁燁攝影王昱剪接 Karl Riedl 美術李卓藝音樂 Jörg Lemberg 音響徐佩君演員周迅、賈宏聲、華仲凱

我一直都想拍一部關於蘇州河的電影。這河就像是這城市的母親，但沒有人會對她多看一眼，因她實在太污染了。於我而言，如果你肯直接望真她的話，你可以看到你童年時期的老朋友，以及一個你自小長大其中的城市風貌。你的生命軌跡，會隨着河水在你面前流過。當一個故事完結之時，一切又回復正常。唯一的分別是，你再不以鏡頭的主觀角度去看事情。我常常感到沒有人會幫忙中國新一代的導演，所以我們要互相幫助。我們現在已有三十至四十個計劃，當中有好的也有不太好的。當然在過程中一定會遇到困難，但藉此我們才可漸漸進入中國的電影工業，為製作注入新生命。 [影評摘錄] 獨立電影強調對形式的實驗自覺性，《蘇州河》借一個兩生花的變奏版，來一次形式的嘗試。導演婁燁既利用大量的主角旁白，來與畫面上的劇情對合平行發展；而且又用不少主觀鏡頭，來呈現主角的角度。電影以一雙容貌相似的女子，來串起男主角馬達的追尋；影像的實驗變化，正好補救了內容較為單薄的缺陷。 LOU Ye was born in Shanghai in 1965 into a family of theatre performers. He studied film and painting at the Beijing Film Academy, where he

侯孝賢 1947 年生於廣東省梅縣，隨家人遷居台灣，80 年執導演筒，83 年的《風櫃來的人》找到自己風格，成了台灣新電影領軍人物。89 年憑《悲情城市》獲威尼斯金獅獎，2015 年憑《刺客聶隱娘》獲康城最佳導演獎。 SELECTED FILMOGRAPHY 主要作品 1985 A Time to Live and a Time to Die 童年往事 1989 A City of Sadness 悲情城市 1993 The Puppetmaster 戲夢人生 1998 Flowers of Shanghai 海上花 2001 Millennium Mambo 千禧曼波 2015 The Assassin 刺客聶隱娘

Starting from Millennium Mambo, I knew virtually nothing about how far my actors would talk or move. It all became a consensus between me and my cinematographer. He took full control of what was to be captured, and there was no sort of thing like “Here is a nice scene or angle, let’s take it”. No, it is a collective effort; actors move continuously, and we capture their actions. Though I will shoot a certain scene many times, it’s almost impossible to cut, due to the lack of scripted lines. As such my camera follows the actions incessantly, and the number of shots become fewer and fewer. Hsiao-Hsien

Hou

HOU Hsiao-Hsien was born in Guangdong province, China, in 1947, and moved to Taiwan in 1948. He studied film at the National Taiwan University of Art and made his directorial debut, Cute Girl in 1980. A leading figure of New Taiwan Cinema, he was named Best Director at Cannes Film Festival for The Assassin (2015).

84 CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 2001 | Mandarin | DCP | Colour | 105min Director Hou Hsiao-Hsien Producer Hwarng Wern-Ying, Gilles Ciment Scriptwriter Chu Tien-Wen Cinematographer Mark Lee Editor Liao Ching-Song Production Designer Hwarng Wern-Ying Music Lim Giong, Hanno Yoshihiro Sound Tu Duu-Chih Cast Shu Qi, Jack Kao, Tuan Chun-Hao Production/World Sales 3H Productions 導演侯孝賢監製黃文英、 Gilles Ciment 編劇朱天文攝影李屏賓剪接廖慶松美術黃文英音樂林強、半野喜弘音響杜篤之演員舒淇、高捷、段鈞豪

It’s my first collaboration with Shu Qi. There was a certain tension between the director and the actor… My way of working with her was to shoot without rehearsal – no scripted dialogue, only scenes, but the details within were clear. Actors delivered their lines reflexively, reacting and responding to the actions made by each other. For instance, the scene in which her boyfriend examined her body and her invoice came naturally. On one occasion, when Shu was overwhelmed and tried to hit someone with a chair, we had to yell “Cut” and stop it at once. When I made that film with her, I basically knew the state of my actor very well. I had that experience. […]

Millennium Mambo 千禧曼波

[導演的話] 那是第一次和舒淇合作。舒淇年輕的時候玩過，所以她非常悍，導演和演員之間會有一種張力……我給她拍的方式就是沒有綵排，沒有對白，只有情境，但很清楚裏面會有細節。所以演員的對白是反射的，意思就是說演員彼此間會受到牽動和反射，並不是預先想好的對白。譬如說那個男的要去檢查她的身體、她的發票，這些都是很自然而然的。有時候演到激動之處，「舒大姐」是會拿着椅子砸人的，當然我們在旁邊要喊 cut（停）。那個片子跟她合作，我基本上是很清楚演員狀態的，已經有那個經驗了。從《千禧曼波》開始，演員會講到那裏，會走到那裏，我都完全不知道。所以就變成攝影師與我之間的默契。他採取完全主動的捕捉。所以就不會出現那種，比如這個鏡頭、這個角度很棒，我們來拍下。不是的，它是整體的，人的活動是連續的，我們來捕捉。大概電影的原形是因為是這樣拍法很難去把鏡頭剪開。雖然我會拍很多條，但是你想說可以剪，卻基本上就是不可能的。因為不是那種很嚴謹對白的形式就沒有辦法去剪。所以說我的鏡頭就一直是這樣跟着，所以鏡頭數量愈來愈少。《侯孝賢電影講座》卓伯棠主編

MASTERS & AUTEURS 大師與作者 The Masters 大師級

was

David Cronenberg [導演的話]

David CRONENBERG he he awarded the festival’s Lifetime Achievement Award. Subsequently in 2018, he also received the Golden Lion Award for Lifetime Achievement at Venice.

後人類罪行 Crimes of the Future is a meditation on human evolution.

Crimes of the Future is an evolution of things I have done before. Fans will see key references to other scenes and moments from my other films. That’s a continuity of my understanding of technology as connected to the human body. Technology is always an extension of the human body, even when it seems to be very mechanical and nonhuman. A fist becomes enhanced by a club or a stone that you throw - but ultimately, that club or stone is an extension of some potency that the human body already has. At this critical junction in human history, one wonders - can the human body evolve to solve problems we have created? Can the human body evolve a process to digest plastics and artificial materials not only as part of a solution to the climate crisis, but also, to grow, thrive, and survive?

presided over the Cannes Film Festival jury, and in 2006

was born in Toronto, Canada in 1943. His first successful feature was Shivers (75), followed by many sci-fi horror visions. In 1999,

Specifically, the ways in which we have had to take control of the process because we have created such powerful environments that did not exist previously.

《後人類罪行》是對人類進化的沉思。特別是，對我們必須掌控其過程的方法，因為我們創造了前所未有的強悍環境。此電影集我過往作品之大成。影迷會看見我其他電影場面和時刻的參照，延續我對科技如何與人體連繫的一貫主題。科技往往是人體的延伸，即使它看來很機械式且非人性化。你手握拳頭拋出一條棒子或一顆石頭，最終那棒子或石頭成為你身體本有力量的延伸。在人類歷史的關鍵時刻，有人會問：人體能否進化至解決我們自己製造的問題？人體能否進化至消化塑膠及人造物料，不單作為解決氣候危機的方案，甚至可以茁壯成長、蓬勃發展並且永續生存？

大衛哥連堡 1943 年生於加拿大多倫多， 75 年拍了首部成功的商業片《淫魔劫》，以肉體恐怖類型電影見稱。 99 年出任康城影展評審團主席，並於 2006 年獲康城頒發終身成就獎，於 18 年再獲威尼斯終身成就獎。 SELECTED FILMOGRAPHY 主要作品 1981 Scanners 奪命凶眼 1986 The Fly 變形人魔 1988 Dead Ringers 孽扣 1991 Naked Lunch 活死人之旅 1996 Crash 慾望號快車 2014 Maps to the Stars 墮落星圖 Persons Aged 18 and Above Only 只准18歲或以上人士

86 THE MASTERS 大師級 Canada/Greece 加拿大／希臘 2021 | English | DCP | Colour | 107 min Director David Cronenberg Producer Robert Lantos Scriptwriter David Cronenberg Cinematographer Douglas Koch Editor Christopher Donaldson Production Designer Carol Spier Music Howard Shore Sound Robert Bertola Cast Viggo Mortensen, Léa Seydoux, Kristen Stewart Production Serendipity Point Films World Sales Rocket Science

Crimes of the Future

was born in 1938 in Łód , Poland. He studied anthropology, literature and history at the Warsaw University before graduating from Łód Film School. Since then, he has

謝西史高林莫斯基 1938 年生於波蘭羅茲，先在華沙大學修讀人類學、文學及歷史，後轉到羅茲電影學院，畢業後當上導演、劇作家、編劇及演員，64 年拍成首部長片《特徵：無》。他於 2016 年獲威尼斯影展頒發終身成就獎。 SELECTED FILMOGRAPHY 主要作品 1965 Walkover 沒有對手的勝利 1970 Deep End 浴室春情 1978 The Shout 死神的呼喚 1981 Hands Up 舉手！ 2010 Essential Killing 極地逃殺 2015 11 Minutes 命懸十一分

87 THE MASTERS 大師級 EO 驢子伊艾奧 Poland/Italy 波蘭／意大利 2022 | Polish | DCP | Colour | 86 min Director Jerzy Skolimowski Producer Ewa Piaskowska, Jerzy Skolimowski Scriptwriter Ewa Piaskowska, Jerzy Skolimowski Cinematographer Michat Dymek Editor Agnieszka Gli ska Production Designer Mirostaw Koncewicz, Roberta Amodio Music Pawet Mykietyn Sound Radostaw Ochnio Cast Sandra Drzymalska, Lorenzo Zurzolo, Mateusz Ko ciukiewicz, Isabelle Huppert Production Skopia Film World Sales HanWay Films

He may have reached the age of 84 and have 30-odd films to his name, but Jerzy Skolimowski still knows how to surprise us. […] The film explores the world through the eyes of EO the donkey, who must leave the circus where he performs and say goodbye to the young, gentle Kasandra. He embarks on a fable-like journey of discovery and has encounters along the way, some happy, others more dangerous, but never loses his innocence. This film is a tribute to Au Hasard Balthazar by Robert Bresson, a film very dear to Skolimowski’s heart, as he told Télérama magazine in 2010: “This is the most important film for me, because it’s the only one that really moved me, that touched me deeply”. Skolimowski admired Bresson’s style, which he described as “stripped of all sentimentalism, nonchalant, almost indifferent”, and now he’s taken his turn at directing a donkey. His first experience directing animals led him to conclude they were “incapable of faking anything. They quite simply just are”. He uses the donkey to great effect to highlight innocence, a quality he says is essential in a cynical and heartless world. SKOLIMOWSKI worked as a director, playwright, scriptwriter and actor. He made his feature directing debut with Identification Marks: None (64). In 2016 he received the Golden Lion Award for Lifetime Achievement at Venice.

[簡介] 儘管已屆八十四歲高齡，已拍了三十多部電影，但史高林莫斯基依然懂得如何為我們帶來驚喜。《驢子伊艾奧》的靈感來自布烈遜的經典作，是他摯愛的電影。今次的主角？是一頭驢子。此片透過驢子伊艾奧的目光看世界，牠曾在馬戲團工作，卻被迫離開，與年輕溫柔的卡珊德拉說再見。牠展開一趟童話般探索之旅，沿途經歷種種──有喜樂，也有危險，但從沒有失去純真。電影是向羅拔布烈遜的《驢子巴特薩》致敬，史高林莫斯基對該片珍而重之。他在 2010 年曾對〈Télérama〉雜誌說：「這是對我最重要的影片，因為它是唯一真正觸動我，令我感動不已的作品。」史高林莫斯基欣賞布烈遜的風格，他形容為「去掉所有感傷濫情，平靜得近乎冷漠」。現在到他指導驢子演戲了，從首次督導動物的經驗，他得出結論是「牠們沒法假裝什麼，純粹我就是我」。他巧用驢子去彰顯純真，他認為在這個犬儒及無情的世界裏，純真是不可或缺的品質。 Jerzy

3B Productions World

Interview with Bruno Dumont [導演訪問] the Grand Prix at Cannes Film Festival.

般奴杜蒙 1958 年生於法國伯勒爾，大學修讀希臘與德國哲學，先後投身教育、廣告、新聞和電視製作等行業。首部作品《人之子》( 97) 奪得法國尚維果獎，並憑《仁啊仁！》(99) 及《天人之戰》( 2006) 兩奪康城評審團大獎。 SELECTED FILMOGRAPHY 主要作品 1997 The Life of Uesus 人之子 1999 Humanity 仁啊仁！ 2006 Flanders 天人之戰 2014 Li’l Quinquin 戇神探與小昆昆 2017 Jeannette, the Childhood of Joan of Arc 聖女貞德的童年 2019 Joan of Arc 少女貞德

88 THE MASTERS 大師級 France/Germany/Belgium/Italy 法國／德國／比利時／意大利 2021 | French | DCP | Colour | 133 min Director Bruno Dumont Producer Jean Bréhat, Rachid Bouchareb, Muriel Merlin Scriptwriter Bruno Dumont Cinematographer David Chambille Editor Nicolas Bier, Bruno Dumont Production Designer Markus Dicklhuber, Erwan Legal Music Christophe Sound Philippe Lecoeur, Gert Jensen, Romain Ozanne, Emmanuel Croset Cast Léa Seydoux, Blanche Gardin, Benjamin Biolay

《法蘭西女主播》諷喻媒體變為嘩眾取寵的機器，手法尖酸刻薄，目的是喚起關注，抑或覺得已無可挽回？大眾對傳媒及記者普遍不信任，覺得新聞機構的每個工作者都牽涉入一個系統，一邊宣示報導事實，另一邊則泛濫虛構幌子。觀眾對傳媒展示的現實奇觀混淆不清。電視主要是提供娛樂的媒體，即使論及時事，卻在新聞報導與政治、經濟及社會時事節目加入新鮮元素，包裝成恍如電視連續劇，與虛構劇情別無二致，竟能吸引並取悅觀眾。新聞故事中現實與虛構之間矛盾複雜，媒體的處理手法不同，導致的毒害亦各異。媒體按各自意識形態塑造現實，根據實用價值的等級，為達致宣傳效果，恣意把時事當作教化工具，簡化現實以符合其標準，令現實成為被重構、圖謀及公式化的虛構故事。猶幸，媒體的虛構成分尚有救贖的可能，仍有自由去真正反映現實。其墮落並非致命，唯藝術可作出補救。選擇在於個人。我們在個人層面上，可以繼續為捍衛人性價值而戰。新聞機構未失守，只因人尚在：代表者正是電影中的女英雄法蘭西迪摩。 Bruno DUMONT was born in Bailleul, France in 1958. A former philosophy teacher, he made his first feature, The Life of Jesus, in 1997. Two of his films, Humanity (99) and Flanders (2006), have won

The general public’s well-known distrust of the media and journalists shows, if not the awareness, at least the intuition that everyone has in relation to a system that preaches reality while being overwhelmed by fiction and its representations. The audience thus has a muddled perception of the spectacle of reality through the media. Television remains a form of entertainment, even in current affairs where, paradoxically, its fiction fascinates viewers, delights them even, through the novelistic aspects that emerge from its staging of both the news and the whole range of political, economic and social current affairs which, as in TV series, are now equal to, or even unequalled by, the best fictional plots. […] This dilemma is indeed that of heroes - which we must be on our own individual level - who continue to wage the worthy human battle. The media system is not deprived of this by the human element at work within it: hence its fully cinematic, alternative and paroxysmal heroine, France de Meurs.

France 法蘭西女主播 France is an allegory of a media system that has become a machine focused on making noise and creating a buzz… The film shows this with irony and cruelty. Is the goal to make us aware of this situation, or is it already irreversible?

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鮑勞塔維安尼

Paolo TAVIANI was born in San Miniato, Italy in 1931. He moved to Rome with his elder brother Vittorio in 1954 and they began to make films together. They won the Palme d’Or at Cannes for Padre Padrone (77) and Berlin’s Golden Bear for Caesar Must Die (2012). Leonora Addio is Paolo’s first film since his brother’s death in 2018. 1931

It always seemed to Vittorio and I that it was Pirandello himself who wrote his funeral in a grotesque way. Intrigued by this story, we already wanted to include it in Kaos, our 1984 film based on the playwright’s short stories. When we suggested making this story too, the producer at the time told us, albeit with affection and admiration, that he had run out of money. Two years ago, when a lot of people were already talking about Pirandello’s ashes, I jumped into this project with Vittorio’s breath near me, and it’s still there today. I documented real moments of that story and invented the outline, including what happens on the train. I immersed myself in Pirandello’s truths, in my own, and in Infantasy.thisfilm, everything proceeds in fragments of stories and lives, and the war was one of the most terrible periods we have experienced. I’ve always thought that Italian culture had three fundamental moments: the Renaissance, the melodrama and Neorealist cinema, which was such a real event in the history of world culture. So I decided to include some scenes from the repertoire, such as those from Vittorio De Sica’s Bicycle Thieves. I was moved, I was reminded of my youth, and the reason why I make films, like Visconti and Rossellini. Interview with Paolo Taviani [導演訪問]

可否談談這部電影的緣起？維托利奧和我總覺得這是作家皮蘭德婁以怪誕手法寫下自己的喪禮。我們對這故事很感興趣，1984 年我們根據他的短篇故事改編成電影《亂－西西里故事》時，已想將之包含其中。但當時的製片人告訴我們，儘管他亦鍾愛和欣賞，但他已經沒錢給我們再拍這故事了。兩年前，當很多人已在談論皮蘭德婁的骨灰時，我投入到這次拍攝計劃，維托利奧的呼吸還在身邊，至今它仍在。我拍下了那個故事的真實時刻，並發展出大綱，包括火車上發生的事。我埋首於皮蘭德婁本人的故事，也在我自己的，以及幻想中的。這部電影裏，一切都是故事和生活的片段，而戰爭是我們經歷過其中一個最可怕的時期。我一直認為意大利文化有三個主要時刻：文藝復興、情節劇、新寫實主義電影，這是世界文化史上真正的重要事。因此我決定加入一些新寫實主義電影場面，例如第昔加《單車竊賊》。我很感動，想起年輕的時候，以及自己像維斯康堤和羅塞里尼那樣拍電影的原因。

89 THE MASTERS 大師級 Leonora Addio 兩個告別皮蘭德婁的角色 Italy/France 意大利／法國 2022 | Italian | DCP/Online | Colour | 91 min Director Paolo Taviani Producer Donatella Palermo Scriptwriter Paolo Taviani Cinematographer Paolo Carnera, Simone Zampagni Editor Roberto Perpignani Production Designer Emita Frigato Music Nicola Piovani Sound Andrea Malavasi, Maximilien Gobiet Cast Fabrizio Ferracane, Matteo Pittiruti, Dania Marino, Dora Becker Production Stemal Entertainment World Sales Fandango Sales

年生於意大利聖米尼托，於比薩大學修人文教育，讀書時已熱愛電影， 54 年搬到羅馬後，與兄長維托利奧一同拍片。兩人合導電影屢獲獎項，《我父我主》(77 ) 獲康城金棕櫚獎，《凱撒必死》( 2012)獲柏林金熊獎。維托利奧 2018 年去世，《兩個告別皮蘭德婁的角色》由鮑勞個人執導。 SELECTED FILMOGRAPHY 主要作品 1977 Padre Padrone 我父我主 1982 The Night of San Lorenzo 聖羅蘭素之夜 1987 Good Morning, Babylon 早安巴比倫 1990 Night Sun 黑夜太陽 2012 Caesar Must Die 凱撒必死 2017 Rainbow : A Private Affair 戰火虹天 ©Gerald Bruneau

How did the film come about?

〈月亮〉李珮菁跟我說，拍我每天的復健吧。自從二十三歲就癱瘓的下半身，這兩年終於有知覺，會痛了。〈樹〉常楓使我想起一棵樹，愈老愈漂亮、愈瀟灑。〈良夜不能留〉〈良夜不能留〉是四十年代的華語老歌。我 2019 年底受邀到香港演唱老歌，正逢香港處於動盪，在東南亞長大的我，可以說是喝香港奶水長大的，對香港有一份深刻的感情。此時此刻，看着東方之珠的風雲變色，不免有所感觸。某夜，我拍下激情過後的銅鑼灣街景，就成了這部短片。 TSAI Ming-Liang was born in Malaysia in 1957. He is one of the most prominent directors of Taiwan’s new cinema movement. His films Vive L’Amour (94) and Stray Dogs (2013) won the Golden Lion and Grand Jury Prize at Venice respectively. In 2017, he directed his first VR film The Deserted 蔡明亮 1957 年生於馬來西亞，高中畢業後赴台灣念書，大學攻讀戲劇及電影。台灣新電影運動以來最具代表性的導演之一。憑《愛情萬歲》(94 )獲威尼斯影展金獅獎。《郊遊》 ( 2013)獲威尼斯影展評審團大獎。 17 年完成他的首部 VR 電影《家在蘭若寺》。 SELECTED FILMOGRAPHY 主要作品 1992 Rebels of the Neon God 青少年哪吒 1994 Vive L’Amour 愛情萬歲 1997 The River 河流 2003 Goodbye, Dragon Inn 不散 2009 Face 臉 2013 Stray Dogs 郊遊

The Moon Lee Pei-Jing told me to film her physical therapy. After being paralyzed since the age of 23, her lower body finally started to regain its feeling, and has registered pain over the past two years. The Tree Chang Feng reminds me of a tree that gets more charming and dashing as it ages. The Night

The title of the film, The Night, is inspired by an old Chinese song from the 40s. At the end of 2019, I was invited to share and perform some old songs in Hong Kong. It was a tumultuous time there. Growing up in Southeast Asia, I was nurtured by Hong Kong to say the least, and therefore, had always held Hong Kong dear to my heart. Witnessing the unexpected changes in the Pearl of the East, I could not help but get emotional. One night, I began filming the streets of Causeway Bay after the frenzy subsided, and thus came this short film. Tsai Ming-Liang [導演的話]

90 THE MASTERS 大師級 The Moon and the Tree 月亮樹 2021 | Mandarin | DCP | Colour | 34 min Director Tsai Ming-Liang Producer Claude Wang Cinematographer Chang Jhong-Yuan Editor Chang Jhong-Yuan Sound Terry Lim Production/World Sales Homegreen Films 導演蔡明亮監製王雲霖攝影張鍾元音響林子翔 The Night 良夜不能留 2021 | Mandarin | DCP | Colour | 19 min Director Tsai Ming-Liang Producer Claude Wang Cinematographer Tsai Ming-Liang Editor Chang Jhong-Yuan Production/World Sales Homegreen Films 導演／攝影蔡明亮監製王雲霖剪接張鍾元The Moon and the Tree / The Night 月亮樹／良夜不能留

91 THE MASTERS 大師級

Production Jeonwonsa Film Co.

“I had a piece that was shot in a most natural setting. There was no script, no idea to express anything,” the director-writer said. “I wanted to compare this kind of footage with the people acting, based on a script I gave.” […]

films.

established auteurs in

“It just looks natural for me. We are living in that period, and there’s not much intention,” said the director, who also played roles as a writer, producer, photographer, editor and composer in the film. “Many small details happen in a scene. I scan and look through them, and when I feel ok, I let them exist in the scene.”

Director Hong Sang-soo Producer Hong Sang-soo Scriptwriter Hong Sang-soo Cinematographer Hong Sang-soo Editor Hong Sang-soo Music Hong Sang-soo Sound Hong Sang-soo, Seo Jihoon Cast Lee Hye-young, Kim Min-hee, Seo Young-hwa

The Novelist’s Film So-seol-ga-ui Yeong-hwa 女作家的電影

cinema. 洪常秀 1960 年生於南韓首爾，憑首部長片《豬墮井的那天》(96 )獲鹿特丹電影節老虎獎， 2015 年憑《愛得對愛得錯》獲羅迦諾電影節金豹獎。至今已執導超過二十部長片，被譽為韓國電影作者第一人。 SELECTED FILMOGRAPHY 主要作品 1996 The Day

South Korea 南韓 2022 | Korean | DCP | Colour | 92 min

World Sales Finecut

Fell into the Well 豬墮井的那天 2002 Turning Gate 追憶失落大門 2008 Night and Day 夜與日 2013 Our Sunhi 我們的善熙 2017 On the Beach at Night Alone 等一個人的心灣

HONG Sang-soo was born in Seoul, Korea in 1960. His debut feature The Day a Pig Fell into the Well (96) won the Tiger Award in Rotterdam. In 2015, Right Now, Wrong Then won the Golden Leopard at Locarno Film Festival. Since then he has made more than 20 He is one of the most contemporary Korean a Pig

Interview with Hong Sang-soo Yonhap News Agency [導演訪問]

“I don’t think there is absolute naturalness. Even being alone in our own room, we don’t know if we can call it natural,” he said. “I don’t think I’m seeking to be really natural. I just happen to be that kind of director. I like to see small details working on significant elements, so I’m kind of relatively more natural.” Due to the naturalism, he did not bother to ask people to take off their face masks or remove virus warnings or Covid-19 signs on the street during filming.

南韓作者導演洪常秀稱新作《女作家的電影》是對其寫作及拍電影的反思，並對相對自然主義的過程做一項特別實驗。他說數年前漫步時隨意拍了一段短片，驅使他拍這部電影：「那短片在最自然的環境下拍攝，沒有劇本，亦無意表達什麼。我想將這種影片與演員依劇本演出的影片作出比較。」這是洪常秀第 27 部長片，環繞著名女作家暫停寫作期間，遇上知名女演員，與她分享藝術及拍電影的感受。「我不認為有絕對的自然主義。就算一個人獨自在房間，我們也不知能否稱之為自然。我並不是追求真正自然，只是想成為那類導演。我喜歡看細節在重要事情上的作用，所以我也算崇尚自然。」基於自然主義，他在拍攝時沒有要求演員脫下口罩，或去掉街上的疫情告示或標誌。「在我看來這是自然不過。我們處身這時期，並非刻意如此。」洪常秀說。他是電影的導演，身兼編劇、監製、攝影、剪接及配樂。「同一場面不少細微枝節出現了。我若覺得沒問題，就讓它們繼續存在。」

South Korean auteur Hong Sang-soo said his latest work, The Novelist’s Film, is intended to reflect on his writing and filmmaking, and do a special experiment on a relatively naturalist process. […]

2016 ) 生於伊朗德克蘭，美術學院畢業後從事平面設計； 1970 年開始與兒童及青少年智能發展學院合作，執導短片《麵包與小巷》， 74 年完成首部長片《小旅人》，憑《櫻桃的滋味》( 97) 獲康城金棕櫚獎，逝世後留下遺作《廿四格》(2017)。 SELECTED FILMOGRAPHY 主要作品 1987 Where is the Friend’s Home? 踏破鐵鞋無覓處 1990 Close-Up 大寫特寫 1997 Taste of Cherry 櫻桃的滋味 2002 Ten 10 2010 Certified Copy 似是有緣人 2017 24 Frames 廿四格

92 THE MASTERS 大師級 Iran 伊朗 1977 | Persian | DCP/Online | Colour | 109 min

International

Mehdi

Editor

[影評摘錄] 這可能是基阿魯斯達米最鮮為人知的傑作，部分原因是影片於巴列維執政的最後數月在伊朗上映，當時國家滿街是罷工、示威及革命暴力行為，並非看電影的時候，即使拍得多好，也少有人欣賞這部劇力萬鈞的婚姻故事。不久，當革命成功，此片一如其他展示裸體、性愛甚至沒披頭紗婦女的電影一樣被禁。影片原裝菲林相信在革命時期被毀，流通的複本在影片中段，即兩主角的親密場面被突然剪掉，顯示該畫面在革命後被刪除。根據伊朗影評人利馬哈辛尼納沙，影片充分明白當時擺在前面的混亂情況：「片中人物在渴望起革命與懦弱、不作為之間左右為難。這種矛盾令他們不滿，對自己以至不斷重複的生活充滿憤恨。」由伊朗新浪潮導演及監製巴赫曼法瑪納拉監製，基阿魯斯達米的《報告》聚焦於不快樂婚姻，像一個時間囊，讓觀眾窺見德黑蘭七十年代中產階級的生活。這題材在那個年代的伊朗電影十分罕見，因為當時的影片多充斥着快樂無憂、威武健碩的低下階級英雄人物的半幻想世界，或是在村落和鄉郊拍攝的新浪潮電影。這部精練的半自傳式家庭劇是導演首次起用專業演員，直至三十年後的《雪馨》他才再作此嘗試。 Abbas

Director Abbas Kiarostami Farmanara Kiarostami Alireza Zarrindast Mahtalat Mirfendereski Designer Ahmad Mirshekan Yousef Shahab Kurosh Afsharpanah, Shohreh Aghdashloo, Tari, Montazar

Producer Bahman

Scriptwriter Abbas

Sound

Mostapha

The Report Gozaresh 報告 Arguably Kiarostami’s least-known great film, part of the difficultly in accessing this compelling marriage drama lies in the fact that it was screened in Iran during the last months of the Pahlavi reign, when the country was gripped by strikes, demonstrations and acts of revolutionary violence, hardly the time for cinema, even if the film did relatively well. Shortly afterwards, when the revolution succeeded, the film, like so many other Iranian films showing nudity, sex or even unveiled women, was banned. The original elements of the film believed to be destroyed during the revolution and the copies in circulation have an unexpected cut in the middle of a scene of intimacy between the two leading characters, suggesting that it has been cut out after the revolution. [… The film] centres on an unhappy marriage and offers viewers a time-capsule of middle-class life in Tehran in the 70s. This is a rare glimpse into a world rarely depicted in Iranian films of that period – as they were either set in a half-fantasy world of happy-go-lucky, macho, lower class heroes; or, as in the case of most New Wave films, in villages and rural areas.

Cinematographer

Cast

Production

阿巴斯基阿魯斯達米 (

[…] This deftly crafted, semi-autobiographical domestic drama was its director’s first work to feature professional actors, an experiment he would not return until 30 years later, in Shirin Ehsan Khoshbakht KIAROSTAMI (1940-2016) was born in Tehran, Iran. He first began making short films in 1970 and was known to be part of the early Iranian New Wave of directors. recognition started in the 1980s with feature films that focused on the lives of children. He won the Palme d’Or at Cannes for 1997’s Taste of Cherry 1940

93 THE MASTERS 大師級 A Conversation on The Report 阿巴斯陪你睇《報告》

曼尼哈喜希 1969 年生於德黑蘭，84 年和家人移居加拿大，在圭爾夫大學取得哲學碩士學位後回伊朗拍片。97 年他訪問了多位伊朗畫家談兩伊之戰的影響，拍成紀錄片《留駐》 ( 2001) 遭伊朗禁映。04 年完成首部劇情長片《阿巴丹》。 SELECTED FILMOGRAPHY 主要作品 2006 Men at Work 男人做嘢 2012 Modest Reception 惡毒金錢遊戲 2016 A Dragon Arrives ! 龍吟傳說 2018 Pig 豬一般的導演 Iran 伊朗 2021 | Persian | DCP/Online | Colour | 185 min Commentary Abbas Kiarostami, Mani Haghighi Print Source Mani Haghighi

Mani HAGHIGHI was born in Tehran, Iran in 1969. In 1984, he and his family left for Canada. He obtained a Master’s degree in Philosophy at Guelph University before returning to Iran to make films. His 2001 documentary To Stay, based on interviews with Iranian painters on the Iran-Iraq War, was banned in Iran. Abadan (04) is his first fiction feature.

[講評人的話] 2005 年春天的一個清晨，我打電話給阿巴斯基阿魯斯達米，建議為其電影《報告》一起做一場導演講評。幾分鐘後，他來到我的公寓，準備對談（那時我們住在附近）。我接駁好投影機，設置好攝影機及咪高峰。基阿魯斯達米堅持我們傾談時鏡頭面向螢幕，記錄投影。他說若鏡頭不對着他，講評時會舒服一點。我妥協了，但現在非常後悔。傾談中，我逐漸了解到他對電影的全面看法，以及如何拍電影的觀點，已完全包含在《報告》之中。他耐心地向我逐一講解每個鏡頭，我們由頭到尾把電影看完，有時中間暫停，讓他整理想法。他說：「關於這部電影的一切，我想要說的都說了。」我搖搖頭：這部電影，還有不少其他的，還未說完。很累，我們叫了午餐，講足球去了。曼尼哈喜希

One early morning in the Spring of 2005, I called Abbas Kiarostami and suggested that we do a director’s commentary on his first feature film, The Report. A few minutes later, he showed up at my apartment, ready to talk (we lived in the same neighbourhood). I connected an old VCR to my film projector and set up my camera and microphones. Kiarostami insisted that I point the camera at the screen and record the projection while we spoke over it. He said he’d be more comfortable speaking if the camera was not on him. I complied, a decision I now truly regret. As we spoke, it became clear to me that his entire way of looking at cinema and his idea of how to make a film, was encapsulated in The Report, and he was patiently unpacking it in front of me, shot by shot. We went through the film straight to the end, often pausing the tape to give him time to complete a thought. “There”, he said, “I think I said everything that needed to be said about this film.” I shook my head: this film, and so many of the other ones as well. Exhausted, we ordered lunch and talked about football. Mani Haghighi

Rimini 廢老浪蕩兒 Rimini is about the search for happiness and the attempt to leave the past behind. But it catches up with you, that is the bitter or liberating truth that the protagonists finally have to face. It is about the longing for love, sexual bartering and the loneliness that remains. All this is embedded in a family story that spans three Mygenerations.choiceof Rimini has to do with the fact that my parents took us children there in the 1950s, to spend our holidays at the seaside. [...] Moreover, we found settings in Rimini that were extremely inspiring and almost ideal for the way I imagined the story in terms of its images and atmosphere. In addition, however, there was an essential element, namely that the film was to be set in winter, at a time when the beaches, the sea, the bathing huts and beach bars disappear in the fog. All of us – the film team, the actors, the extras – got ready for the shoot in Rimini at the end of November 2017. [...] It was not until the beginning of the following year that the fog came. And not only that. Rimini had never seen so much snow as during that winter. That gave us wings. Our joy was immense.

[導演的話] 這是關於尋找快樂和試圖將過去拋諸腦後的故事。但過去的事揮之不去，主角最終必須選擇面對苦痛還是解脫的真相。這是關乎對愛的渴望、性交易及之後仍有的孤獨。所有這些都寫進了一個跨越三代的家庭故事。我之所以到里米尼取景，因為父母在 1950 年代曾帶我們去海邊度假。我仍記得我和弟弟穿着黑褲在沙灘玩耍。里米尼這個地方也非常令人振奮，那裏的模樣和氣氛，幾乎完全吻合我所構想的故事。然而，除此之外，還有一個重要元素，即影片的背景設定在冬天，此時的沙灘、大海、淋浴間和沙灘酒吧都消失在濃霧中。我們所有人，包括劇組、演員和臨時演員，在 2017 年 11 月尾，已為里米尼的拍攝做好準備。都計劃好了，但大霧沒來，每天都陽光燦爛，我只好叫大家回家，然後等了又等，直到翌年年初，大霧終於來了。不僅如此，從沒見過里米尼像那個冬天那樣下了這麼大的雪。真是如虎添翼，高興極了。 Ulrich SEIDL was born in Vienna, Austria in 1952. Since his narrative debut, Dog Days (2001), he has become one of Austria’s premier filmmakers. He is best known for directing the Paradise trilogy. 尤里塞德 1952 年生於奧地利維也納，大學修讀新聞、藝術史及戲劇，二十六歲考入維也納電影學院。首部劇情片《墮落人生》(2001) 已獲威尼斯影展評審團特別獎。憑《天堂三部曲》備受國際注目。 SELECTED FILMOGRAPHY 主要作品 2007 Import/Export 出入人口 2012 13 Paradise trilogy 天堂三部曲 2014 In the Basement 地窖天堂 2016 Safari 狩獵天堂 Persons Aged 18 and Above Only 只准18歲或以上人士

94 THE MASTERS 大師級 Austria/France/Germany 奧地利／法國／德國 2022 | German/Italian | DCP | Colour | 115 min Director Ulrich Seidl Producer Philippe Bober, Michel Merkt Ulrich Seidl Scriptwriter Ulrich Seidl, Veronika Franz Cinematographer Wolfgang Thaler Editor Mona Willi Production Designer Andreas Donhauser, Renate Martin Music Fritz Ostermayer, Herwig Zamernik Sound Klaus Kellermann, Matz Müller Cast Michael Thomas, Tessa Göttlicher, Hans-Michael Rehberg Production Ulrich Seidl Filmproduktion World Sales Coproduction Office

Ulrich Seidl

You get a present. A nice, elegant little box, tightly closed. It is yours, you can see it every day on your mantelpiece. But what for, if you cannot ever open it? You try first delicately, then with a knife. When you bring the hammer you realize that it would destroy the thing. For some days you feign a lack of interest. Then you admit you would give anything just to peek inside for a second. Slowly, that tiny box will drive you mad. We made this film about love, passion, drama, adventure, about the thousand colours of life, a shamelessly emotional tale about what it means to be a man, what it means to be a woman, what it means to be human. If you look at Lizzy and Jakob, at L a Seydoux and Gijs Naber, you do not see opposites. You see two people with fair skin, blond hair, high cheekbones and quite similar, unusually slit eyes. They could be brother and sister. Or, they could be the male and female part of the same soul… Ildikó Enyedi won the Golden Bear for Best Film at Berlinale.

伊迪高安怡迪 1955 年生於匈牙利布達佩斯。 89 年拍攝首部長片《我的二十世紀》，獲康城影展金攝影機獎，並獲選為十二部匈牙利電影代表作之一。 2017 年以新作《夢鹿情緣》奪得柏林影展金熊獎。 SELECTED FILMOGRAPHY 主要作品 1989 My 20th Century 我的二十世紀 1994 Magic Hunter 魔術獵人 1999 Simon, the Magician 西門 2000 2017 On Body and Soul 夢鹿情緣 Persons Aged 18 and Above Only 只准18歲或以上人士

95 THE MASTERS 大師級 The Story of My Wife A Feleségem Története 妒海迷航 Hungary/Germany/France/Italy 匈牙利／德國／法國／意大利 2021 | English/Dutch | DCP | Colour | 170 min Director Ildikó Enyedi Producer Mónika Mécs Scriptwriter Ildikó Enyedi Cinematographer Marcell Rév Editor Károly Szalai Production Designer Imola Láng Music Ádám Balázs Sound Noemi Hampel Cast Léa Seydoux, Gijs Naber, Louis Garrel Sergic Rumbini, Jasmine Trinca Production Inforg M&M Film World Sales Films Boutique

[導演的話] 你得到一份禮物，是一個優雅精緻的小盒，蓋子緊閉。它屬於你，放在壁爐架上，你每天可以欣賞它。但如你永遠不能打開它，那又有何用？你首先輕輕嘗試，接着使用小刀，當你拿起錘子時，發現可能把它毀掉。起初你假裝不感興趣，之後你承認會不惜一切只想窺看盒內一下。慢慢地，那小盒令你陷於瘋狂…… 此片是關於愛、熱誠、戲劇、冒險，以及生命的萬千色彩。這是一個徹徹底底的情感故事，關於何謂男人、何謂女人、何謂人。當你看着蕾雅絲端及吉斯納貝飾演的主角，你不會看到對立面。你會看見兩個人同樣有白皮膚、金頭髮、高顴骨及相似的狹長眼睛。他們可能是兄妹，又或者是男與女兩體一面…… Ildikó ENYEDI was born in Budapest in 1955. She started her career as a concept and media artist. Her first film, My 20th Century, won her the Golden Camera award at Cannes, and was chosen as one of the 12 Best Hungarian Films of All Time. On Body and Soul (2017)

Ulrich Seidl 尤里塞德《廢老浪蕩兒》 Rimini (p.94) Jean-Pierre & Luc Dardenne 戴丹兄弟《兩小無懼》 Tori and Lokita (p.12) 7:15pm 放映 Screening 8:45pm 映後談 Post-screening Talk 英語主講，憑票入場 Conducted in English. Admission by ticket only. 31/8 (三 WED) PREMIERE Elements 17/8 (三 WED) M+戲院 M+ Cinema 2:30pm 放映 Screening 4:40pm 映後談 Post-screening Talk 國語主講，憑票入場 Conducted in Mandarin. Admission by ticket only. 21/8 (日 SUN) 英皇戲院銅鑼灣時代廣場 Emperor Cinemas Times Square 2:30pm 放映 Screening 4:25pm 映後談 Post-screening Talk 英語主講，憑票入場 Conducted in English. Admission by ticket only. Chung Mong-Hong 鍾孟宏《瀑布》 The Falls (p.22) MASTER CLASS 大師班

MASTERS & AUTEURS 大師與作者 Auteurs 作者風

Avshalom

The minister of Culture initiated the law of loyalty to culture, forbidding the funding of any artwork deemed unfaithful to the government. This law could be passed at any time. The relative democracy that still prevailed is gradually shrinking. We’re experiencing the end of a certain Israeli mindset – true or false – that I grew up in. This definitely marks the end of Israel as I’ve known it. It could be the inevitable fate of a country ever at war – the fate of a country where everyone, including myself, has experienced war, taken part in it, in violence. I don’t have a clue. I’m neither a historian, nor a sociologist. Oddly enough, artistic free speech has become the key symbol of this collapse. […] Words in this film are a texture, a tune. They’re a part and parcel of that world, just like the desert, the sun, loneliness, the feeling of void. They are significant, not only because of their meaning, but also because they’re spoken. Words are like a music growing louder and louder. What drives them forward is Y’s despair, helplessness and sadness that make him go constantly forward without ever stopping – go ever faster and be ever louder. However, by the end of this crescendo, there’s no room for redemption. Y.’s burning manifestos and frenzied speeches make sense and help keep him from falling down and crying. Nadav Lapid [導演的話] documentary cinematographer. His 2019 film, Synonyms, won the Golden Bear for Best Film at Berlinale. 1975

Sound

Director Nadav Lapid Judith Lou Lévy Nadav Lapid Cinematographer Shaï Goldman Feller Designer Pascale Consigny Aviv Aldema, Marina Kertesz, Bruno Mercere

98 AUTEURS 作者風 France/Germany/Israel 法國／德國／以色列 2021 | Hebrew | DCP | Colour | 110 min

Ahed’s Knee Ha’berech 膝控大導演

Editor Nili

文化部倡議設立文化忠誠法，禁止資助任何被視為對政府不忠的藝術作品。此法例將隨時通過，現時享有的民主正逐漸萎縮。我一直抱持的某種以色列價值觀、對與錯正在消亡；我所認識的以色列已不復存在。這可能是戰爭狀態的國家──包括我在內所有人曾經歷戰爭、曾參與暴力的國家──無可避免的命運。我毫無頭緒。我不是歷史學家或社會學家。說來奇怪，藝術言論自由成為崩壞的重要標記。在我所寫的劇本，導演 Y 所走的路我該不敢走。他寧願犧牲助理圖書館長，以阻慢法西斯坦克的快速前進。他是英雄定惡棍？他是為一位高尚甚至比他更誠實勇敢的年輕女子帶來災難，還是在對付一位為政權作卑鄙勾當的懦弱女子？在那些黑暗日子，受害者與加害者、強者與弱者、高位者與低下者的分界是否正在消失？界線被模糊，我們正同坐一條沉船。言語在影片中是一種質感、一種調子，有如沙漠、太陽、寂寞、虛空感覺，是世界不可缺少的部分。它的重要性不單在其意義，更在於被說出來。言語像音樂愈來愈響亮。Y 的絕望、無力感及悲傷令他一往無前，去得更快更響。不過高處過後，卻沒有救贖的空間。Y 的激動宣言和狂亂演辭變得合理，讓他不至於倒下痛哭。 Nadav LAPID was born in Tel Aviv, Israel in 1975. He studied philosophy in Tel Aviv, French literature in Paris and cinema at the Sam Spiegel Film School in Jerusalem. He has worked as a journalist, television critic and

Production

Production du Bal, Komplizen Film, France Cinema, ZDF/ARTE,

Scriptwriter

Pie Films, ARTE

Les Films

Producer

Israel Film Fund World Sales Kinology

拿達夫拉比特

年生於以色列特拉維夫，曾在特拉維夫大學念哲學，後於巴黎念文學，再於耶路撒冷史匹格影視學院修讀電影。首部長片《幸福的警察》獲羅迦諾電影節評審團特別獎。《字旅巴黎》( 2019)獲柏林影展金熊獎。 SELECTED FILMOGRAPHY 主要作品 2011 The Policeman 幸福的警察 2014 The Kindergarten Teacher 愛詩誘罪 2019 Synonyms 字旅巴黎 2021 Ahed’s Knee 膝控大導演 ©Reuven Castro

Cast Pollak, Nur Fibak, Yoram Honig, Lidor Ederi, Yonathan Kugler

Editor Ahmed Hafez Production Designer Nael Kanj Music Khaled Dagher Sound Julien Perez Cast Saba Mubarak, Ali Suleiman, Tara Abboud,

Waleed Zuaiter Production Film Clinic, Agora Audiovisuals, Acamedia Pictures World Sales Pyramide International Amira 以巴爸之名

99 AUTEURS 作者風 Egypt/Jordan/UAE/Saudi Arabia 埃及／約旦／阿聯酋／沙特阿拉伯 2021 | Arabic/Hebrew | DCP | Colour | 100 min

Cinematographer Ahmed Gabr

Director Mohamed Diab Producer Mohamed Hefzy, Moez Masoud, Mona Abdel Wahab, Hany Abu Assad, Amira Diab, Sarah Goher Scriptwriter Mohamed Diab, Khaled Diab, Sherin Diab

我從報紙上得知巴勒斯坦丈夫即使在以色列坐牢，也能令妻子懷孕。有個非法走私系統容許把精子偷運出監獄。我一直記住這個故事，想像着可能的故事發展、戲劇轉折及逆轉……更重要是，我在其中發現它遠遠超出以巴衝突的存在主義延伸，可應用於所有衝突，發出類似哲學的提問：年輕人的信念最初形成，過程是怎樣的？其信念從何而來，又如何繼承？故事的觸發點，是想像納華不是艾美拉的父親。他的妻子被視為英雄的妻子，他的女兒被視為英雄的女兒，但如果這個英雄不是父親，那麼妻子和女兒會怎樣？這可以是一部莎劇，但故事發生在今天的巴勒斯坦，在一座充滿自由戰士肖像的城市。他們在巴勒斯坦人眼中是英雄，在以色列人眼中是恐怖分子。向戰士致敬，是巴勒斯坦人的核心價值，以這種方式孕育小孩（今天已有過百個這樣的孩子）是反抗壓迫的象徵，是巴勒斯坦精神的象徵，是這些戰士永不放棄的一種表現。如果他們被殺，孩子將接替其位置，鬥爭的動員將永不枯竭。 Mohamed DIAB was born in Egypt in 1978. He is a prominent Egyptian filmmaker who began his career as a screenwriter. His works have achieved commercial success in the Middle East as well as international acclaim. In 2010 he made his directorial debut, Cairo 678 穆罕默德迪亞布 1978 年生於埃及伊斯馬利亞，起初入行擔任編劇，憑首部劇情長片《開羅 678》( 2010)聲名大噪。 SELECTED FILMOGRAPHY 主要作品 2010 Cairo 678 開羅 678 2016 Clash 囚車大風暴 2021 Amira 以巴爸之名

I learned from the newspapers about Palestinian couples who were able to conceive children even though the husbands were imprisoned in Israel. A trafficking system allowed sperm to be smuggled out of prison. The story stayed in my head, I imagined possible developments, the twists and turns that could be grafted onto the process... Above all, I found in it existential extensions that went well beyond the Israeli-Palestinian conflict and could be applied to all conflicts, raising quasi-philosophical questions: what happens in the head of a young man or woman who was first conceived as an idea? The trigger for the film was to imagine that Nawar is not Amira’s father. His wife is treated as the wife of a hero, his daughter as the daughter of a hero. But if the hero is not the father, what happens to the wife and daughter? It could be a Shakespearean drama, but this story takes place today in Palestine, in a city adorned with portraits of freedom fighters - heroes, say the Palestinians, terrorists, say the Israelis. Honouring the fighters is at the heart of the Palestinian cause, the children conceived in this way - about a hundred of them so far - are a symbol of the struggle against oppression, a symbol of the Palestinian spirit. A way of saying that these fighters will never give up. If they are killed, their children will take their place, the source of their struggle will never dry up. Interview with Mohamed Diab [導演訪問]

森美卡潘諾古 1963 年生於土耳其，2001 年執導首作《離家去》，隨後有得獎作品《天使之淪落》(04 )，以及享譽甚隆的「蛋奶蜜三部曲」，其中的《蛋奶蜜三部曲之蜂蜜》(10)奪柏林影展金熊獎。 SELECTED FILMOGRAPHY 主要作品 2007 Egg 蛋奶蜜三部曲之雞蛋 2008 Milk 蛋奶蜜三部曲之牛奶 2010 Honey 蛋奶蜜三部曲之蜂蜜 2017 Grain 如果麥子消失 2021 Commitment Hasan 朝聖之前懺悔之後

Commitment Hasan Baglılık Hasan

朝聖之前懺悔之後

lu [導演的話] 本片着重討論我們每個人在世上任何地方都會經歷的人性衝突。它圍繞不同身份、不同社會階層、來自各行各業的人物，進行形而上和一絲不苟的自我反省；並試圖為我們所有人發掘出獨特的「意義」，這「意義」是我們在日常生活中擔當的角色和身份所無法解釋的。哈桑在他的田地種植和銷售農作物，試圖損人利己（即使是他最親近的人）來克服他面臨的困難，這是他執迷於財產的結果。儘管他作出的選擇皆自作自受，但他每次都被自負的性格牽着走。當他即將動身前往麥加朝聖，他和妻子艾米娜開始面對過去的錯誤……在出發之前，他要造訪那些他曾傷害和欺騙過的人，以取得他們的祝福。對我來說，重要的是令觀眾感受到這個人的內在痛苦，感受到他內心深處的悔恨和絕望，同時在表層描繪他們的差異和矛盾。我相信痛苦的根源，跟那條將我們每個人連在一起的無形暗線有關。

100 AUTEURS 作者風 Turkey 土耳其 2021 | Turkish | DCP | Colour | 148 min Director Semih Kaplano lu Producer Semih Kaplano lu, Furkan Ye ilnur Scriptwriter Semih Kaplano lu Cinematographer Özgür Eken Editor Semih Kaplano lu Production Designer Meral Aktan Sound Seçkin Akyıldız Cast Umut Karada , Filiz Bozok, Gökhan Azla , Ay e Günyüz Demirci Production Films Boutique, Kaplan Film Production, Sinehane World Sales Films Boutique

and

Commitment Hasan focuses on the human conflicts that each and every one of us go through anywhere in the world. It centres around the metaphysical and conscientious soul searching of characters with different identities from different classes and walks of life; and tries to discover the unique ‘meaning’ to all of us, and one which our assumed roles and identities in everyday life cannot explain. Hasan, who grows and sells crops in his field, tries to overcome the difficulties he faces by impacting the rights of others, even those closest to him, and is a result of his obsessional commitment to property. Even though the choices he makes are self-inflicted, he succumbs to his ego every time. Hasan and his wife Emine begin to face the mistakes of his past with the emergence of their journey to Hajj... But before going to Hajj, he goes on a journey to get halal with the people he has broken and deceived. For me it is important to make my audience feel a human being’s pain, the remorse and desperation that lives underneath, whilst depicting their discrepancies and contradictions on the surface. I believe the source of pain has something to do with the real bond that connects each and every one of us together, with an invisible thread. Kaplano

Semih

Best Film

Semih KAPLANO LU was born in 1963 in Turkey. Away from Home (2001) was his directorial debut, which he followed up with the award-winning Angel’s Fall (04) his acclaimed prizewinning Yusuf trilogy. Honey (10), the third film in the trilogy, won the Golden Bear for at Berlinale.

Albrecht

康奴門多佐

Producer

101 AUTEURS 作者風

Production Match Factory Productions, Proton Cinema KFT World Sales The Match Factory Kata and I often discuss identity, and how it is such a pliable notion. How events, both horrible and joyous, can arc through generations and define the lives of those without first-hand experience. This film includes many elements of true events that have deeply affected our lives. But we wanted to approach it by not simply paying homage to historical events but by looking at how those moments affect the individual, and the generations that follow. This film is very personal to Kata’s family history. Kornél Mundruczó This film has a really interesting perspective on being Jewish in modern Germany. Kata: My mother had five birth certificates and they were all fake. I just felt I had so many question marks on these topics, but our move to Germany presented us with a set of new questions as well. We experienced that there is a certain fear that surrounds the subject in current German society, but we didn’t want to portray a perspective that looks for answers in the past, but a contemporary one. Our main focus is the identity we pass on to our children.

Scriptwriter

Kornél: While I’m not Jewish, I have three Jewish kids. When we went to Berlin, we started to realise that those questions we’re tackling in the earlier parts of the film are way more complex today in Berlin that we anticipated.

Padmé

Sound

年匈牙利出生，身兼導演與演員。98 年匈牙利戲劇與電影大學畢業，執導的短片及紀錄片多次獲獎，2000 年完成首部長片兼實驗電影《只願如此》。《心碎的女人》 ( 20) 獲提名奧斯卡最佳女主角。 SELECTED FILMOGRAPHY 主要作品 2005 Johanna 聖女貞德 2008 Delta 三角洲 2014 White God 狗眼看人間 2017 Jupiter’s Moon 天使墮人間 2020 Pieces of a Woman 心碎的女人 ©Match Factory Productions - Proton Cinema ©Viktória-Petrányi

Production

Viktória

凱塔與我經常討論身份問題，以及身份如何易受影響。可怕及愉快的事件，如何伸延一代又一代，令那些沒有親身經歷的人生活亦受影響。影片涵蓋不少真實事件的元素，對我們生活構成深遠影響。但我們不想只是向歷史事件致敬，更想看看那些重要時刻如何影響個人及後代。此片關於凱塔家族歷史，是非常個人的故事。我們運用不同電影工具及風格，以嶄新方式放大這些情感和記憶，希望那些同樣受自身經歷困擾的人會感同身受。 [編導訪問] 影片對當代德國猶太人的處境提供了有趣的角度。凱塔韋伯（編劇）：我母親有五張出世紙，全是假的。我對身份有很多疑問，但移居德國後發現新問題更多。影片中的柏林故事啟發自真實事件，我們感到德國社會對此問題存有恐懼，但我們不想回望過去，而是希望着眼現在尋求答案。我們的焦點在於把什麼身份傳給下一代。康奴門多佐（導演）：我雖然不是猶太人，但有三個猶太裔孩子。影片首兩部分充滿矛盾的故事，映照共產主義時期留在家園的東歐猶太人歷史，亦關連到柏林部分的故事。來到柏林後，我們才發現影片前段探討的問題，在現今柏林變得更為複雜。 Kornél

Interview with Kornél Mundruczó and Kata Wéber [導演的話] MUNDRUCZÓ was born in Hungary, 1975. His debut, Pleasant Days (2002), won the Silver Leopard at Locarno Film Festival. Delta played in competition at Cannes in 2008 and won the FIPRESCI Prize. In 2014, White God won Un Certain Regard at Cannes Pieces of a Woman (20) received with an Academy Award nomination. 1975

Evolution 天演遺痕 Kornél Mundruczó Viola Fügen, Michael Weber, Petrányi Kata Wéber Cinematographer Yorick Le Saux Dávid Jancsó Designer Judit Varga “Csuti”, Konrad Music Dascha Dauenhauer Noemi Hampel Cast Lili Monori, Annamária Láng, Goya Rego, Hamdemir, Jule Böwe

Germany/Hungary 德國／匈牙利 2021 | Hungarian/German | DCP | Colour | 100 min Director

Editor

Anastasia

Artistic

Scriptwriter

Production

小阿歷西謝曼 1976 年生於俄羅斯莫斯科，就讀於莫斯科國立電影學院。2003 年導演首作《最後一班列車》、05 年《革命前夕足球夢》皆入選威尼斯影展。08 年憑《紙士兵》贏得威尼斯影展最佳導演和最佳攝影兩個獎項。後作《雪原七思》( 15) 及《大文豪的嚴冬》(18) 皆贏得柏林影展突出藝術貢獻獎。 SELECTED FILMOGRAPHY 主要作品 2003 The Last Train 最後一班列車 2005 Garpastum 革命前夕足球夢 2008 Paper Soldier 紙士兵 2015 Under Electric Clouds 雪原七思 2018 Dovlatov 大文豪的嚴冬 ©METRAFILMS LLC, KINOPRIME FOUNDATION

was born in Moscow, Russia in 1976 and studied at Gerasimov Institute of Cinematography (VGIK). He made his feature debut The Last Train in 2003. For Paper Soldier, he won the Silver Lion at Venice Film Festival in 2008. His following works Under

Director Aleksey German Jr.

Production

102 AUTEURS 作者風 Russia 俄羅斯 2021 | Russian | DCP/Online | Colour | 106min

I read no books to prepare, but I had a clear image of him from the start. I knew what he was like and how he would change. Another thing is the creation of this image on the screen, that was a long and shared journey with actor Merab Nindze. I understand their logic, their thinking, their life, because I have an image of the Russian intelligentsia. For me there was no difficulty when we created the character with the scriptwriter, Maria Ogneva, who brought a lot to the work. His specialisation on the work of Osip Mandelshtam was also clear, since the intelligentsia has always existed within the paradigm of time and always had a strong link to history. Interview with Aleksey German Jr. GERMAN Jr. Electric Clouds (15) and Dovlatov (18) were both awarded the Silver Bear for Outstanding Contribution at Berlinale.

The script had been written long before Covid: I always wanted to shoot a courtroom drama or something close, and then I thought why not make a courtroom drama, but without a court: what happens to a man outside the courtroom. Then I thought it would be interesting if it were a closed space and the person cannot leave but is under house arrest and has to make peace with himself. Isolation is a probing, terrifying, and painful condition that gives rise to reevaluation. That is how this script got made, and I returned to it now.

Company, All Media,

Outrageous

大軟禁

House Arrest Delo Where did the inspiration come from to write House Arrest?

Films

How did you build the character of David and his literary world, and what did you read before building his character?

Producer Artem Vasilyev Aleksey German Jr., Maria Ogneva Cinematographer Ivan Burlakov Designer Elena Okopnaya Cast Merab Ninidze, Anna Mikhalkova, Roza Khairullina, Melnikova Metrafilms, Film LM Media World Sales mk2

[導演訪問] 電影靈感從何而來？這故事在疫情發生前很久已經寫成。我一直希望拍一部法庭電影，又或者類似的東西。然後便想到：何不拍一部沒有法庭的法庭電影？拍一個人在法庭以外發生的事。假如那是封閉的空間，被軟禁、不能離開的人，不得不跟自己好好相處，會很有意思。被隔離和監視是非常可怕和痛苦的事，會帶來自我審視，這就是劇本的出發點。你是如何建構大衛這角色及其文學世界的？你之前閱讀了什麼？我一本書也沒看，但對我來說，一開始他就有清晰的形象。我知道他是什麼樣子，他會怎樣改變。另外就是要把這形象在銀幕表現出來，於是我和飾演他的演員連德茲談了很久。我了解俄羅斯知識分子，了解他們的邏輯、他們的想法、他們的生活。對我來說，跟編劇瑪麗亞奧妮娃一起創造這角色幾乎毫不費勁。他是蘇聯詩人奧西普曼德爾施塔姆專家這一點也是很清楚的，因為俄羅斯知識分子總在時間的範式存活，體現深厚的歷史感。 Aleksey

我很少能找到一個啟發自真實事件卻又包含矛盾衝突的故事。本片故事就充滿了矛盾衝突，如同時鐘齒輪精確地組合起來，最終在搏鬥中互相增強。儘管各司其職，它們都在為同一個滴答作響的時鐘服務，正如本片的矛盾衝突，都是為了：懸念。本片處理矛盾，並意識到矛盾不能單獨存在。沒有惡，善就沒有意義。沒有背叛的威脅，忠誠也是空談。任何二元性都可轉化為對立，產生恰當的相互作用。個體不純粹是好人還是壞人，他們可隨着環境變化而改變。弔詭的是，人的矛盾都有細小的接合點，它們看起來是相同的。我在本片試圖研究忠誠與背叛間的接合點，着重深度和嚴肅，也帶着幽默、相對主義和生活的平庸。簡而言之，本片是一部帶有爭議的女權之旅，是一部帶有幽默的驚慄片，也是帶有悲劇愛情的莎士比亞戲劇。 Hany ABU-ASSAD was born in Nazareth in 1961. After studying and working in aeronautics in the Netherlands, he formed Ayloul Film Productions in 1990 and produced documentaries on immigration for BBC and Channel 4. In 1998 he made his directorial debut,

Seldom do I find a story inspired by real events that also contains contradictions. Huda’s Salon is full of contradictions that work together in a precise way and begin to fit together like the main wheels inside a clock, eventually strengthening one another through their fight. Despite having different jobs and agendas, they’re all working for the same ticking clock: suspense. Huda’s Salon deals with contradictions and realises that contradictions cannot exist without one another. Good has no meaning without the existence of evil. Loyalty is empty without the threat of betrayal. Any duality can transform into its opposite given the right interactions. Individuals are not merely good or bad, they can change as circumstances change. Paradoxically, contradictions in humans have a thin touchpoint in which they appear identical. In Huda’s Salon, I try to explore the touchpoint between loyalty and betrayal, with depth and seriousness, but also with doses of humour, relativism and the banality of life.

received

Academy Award nominations for Paradise Now (2005) and Omar (13). 漢尼阿布阿薩 1961 年生於拿撒勒， 81 年移居荷蘭，在阿姆斯特丹修讀飛機工程。 90 年成立電影公司，製作外國移民題材的電視紀錄片。98 年完成首部長片《第十四隻雞》。《立見天國》(2005 )及《翻牆》(13)兩度獲奧斯卡最佳外語片提名。 SELECTED FILMOGRAPHY 主要作品 2002 Rana’s Wedding 疾走新娘 2005 Paradise Now 立見天國 2013 Omar 命運在翻牆 2017 The Mountain Between Us 冰峰逃生 2021 Huda’s Salon 諜路難逃 Persons Aged 18 and Above Only 只准18歲或以上人士 ©Yani Photography

103 AUTEURS 作者風 Huda’s Salon 諜路難逃 Egypt/Palestine/The Netherlands 埃及／巴勒斯坦／荷蘭 2021 | Arabic | DCP | Colour | 91min Director Hany Abu-Assad Producer Hany Abu-Assad, Amira Diab, Mohamed Hefzy Scriptwriter Hany Abu-Assad Cinematographer Ehab Assal, Peter Flinckenberg Editor Eyas Salman Production Designer Nael Kanj Music Jeffrey Van Rossum Sound Mark Glynne, Tom Bijnen Cast Maisa Abd Elhadi, Ali Suliman, Manal Awad, Jalal Masarwa, Samer Bisharat Production H&A Productions, Film Clinic World Sales Memento Films International

In short, Huda’s Salon is a feminist journey with controversial themes, a thriller with humour, a Shakespearean drama with a tragic love story. Hany Abu-Assad [導演的話] The 14th Chick. He two

[導演的話] 這是一部「圍城狀態」的電影，這個詞由巴勒斯坦偉大詩人馬哈茂德達爾維什所創。不只是被外部圍困，內部也在彼此圍攻，本片就是講述這種被圍困感覺的本質。以上是我在大約五年前寫的。也是差不多時間，巴勒斯坦作家薩伊德卡書亞初次跟我接觸，讓我把他那既美麗有趣，又殘忍荒謬和悲傷的故事改編成電影。這是個不太可能被委託的拍攝計劃。一個用阿拉伯語講述關於巴勒斯坦村落的故事，卻是由一位巴勒斯坦作家用希伯來語寫成。考慮到我們現在生活的兩極分化世界，這個想法似乎不可行。但我也不確定，除非完全不可行，是否該把它拍出來，因此我更被這計劃吸引。雖然聽起來很天真，但我想把這部電影獻給每個生活在這片傷痕纍纍的土地上的人，有些人稱之為巴勒斯坦，有些人稱之為以色列，我更寧願稱之為家。 Eran KOLIRIN was born in 1973 in Holon, Israel. His first work for cinema was the screenplay for the film Zur Hadasim (99). In 2004, he wrote and directed The Long Journey, a film made for television. The Band’s Visit (07) is his first feature film, winning eight Israeli Film Academy

艾朗柯里林 1973 年生於以色列，99 年開始參與編劇，2004 年為電視台編導《漫長旅程》， 07 年導演首部劇情長片《警察樂隊來訪時》一鳴驚人，獲獎無數。 SELECTED FILMOGRAPHY 主要作品 2007 The Band’s Visit 警察樂隊來訪時 2011 The Exchange 我不在的時候 2016 Beyond the Mountains and Hills 多事之丘 2021 Let It Be Morning 黎明你會不會來

Let It Be Morning is a film about “The state of siege”, a term coined by the great poet Mahmud Darwish. A siege that is no less internal than external. A story about the essence of that feeling: to be under Isiege.wrote the above about five years ago. It was around the time I was first approached by the Palestinian author Sayed Kashua who had asked me to adapt his beautiful, funny, cruel, absurd and sad tale for the cinema. It was an unlikely project to be entrusted with. A story told in Arabic about a Palestinian village, but was written in Hebrew by a Palestinian author. Considering the polarised world in which we now live, the idea seemed impossible. But I am not sure films should be made unless they are impossible, which is why I was all the more drawn to and taken with this project. Naive as it may sound, I would like to dedicate this film to everyone living on that wounded piece of land which some call Palestine and some call Israel, and I would rather call Home. Eran Kolirin awards, and two awards at the Cannes Film Festival.

104 AUTEURS 作者風 Israel/France 以色列／法國 2021 | Hebrew/Arabic | DCP | Colour/B&W | 101 min Director Eran Kolirin Producer Yoni Paran, Nadav Palti, Tami Mozes Borovitz, Raanan Gershoni, Keren Michael Scriptwriter Eran Kolirin Cinematographer Shai Goldman Editor Arik Lahav-leibovich, Haim Tabekman Production Designer Amir Yaron Music Habib Shehadeh Hanna Sound Aviv Aldema, Bruno Mercère Cast Alex Bakri, Juna Suleiman, Salim Daw, Ehab Elias Salami, Khalifa Natour, Izabel Ramadan Production Dori Media World Sales The Match Factory Let It Be Morning Vayehi Boker

黎明你會不會來

沙基羅斯尼薩 1964 年生於前蘇聯巴拉諾維奇（今白俄羅斯），後移居烏克蘭基輔，畢業於莫斯科國家電影學院。及後加入聖彼得堡紀錄片電影廠，開始炮製紀錄片，並執導劇情片，憑《霧裏人鬼神》(2012 ) 獲康城影展國際影評人聯盟獎，《瘋狂的邊境》(18) 亦贏得康城影展「某種觀點」最佳導演獎。 SELECTED FILMOGRAPHY 主要作品 2010 My Joy 我快樂你大鑊 2012 In the Fog 霧裏人鬼神 2014 Maidan (docu ) 佔領廣場 (紀錄片) 2017 A Gentle Creature 鐵幕溫柔女子 2018 Donbass 瘋狂的邊境 2019 State Funeral ( docu ) 史太林大國葬(紀錄片)

It was important to tell this story now because everything seems to be coming back. The Russian Federation is rebuilding the Soviet Union at home, and when they complete it, they will come for all of us - Ukraine, Baltic, Caucasus, and the Central Asian countries, and we have to be prepared for that. […] This is why it is crucial to remember what happened when the Soviet Union collapsed, because still many questions remain unresolved from that period. […] I remembered (Landsbergis) from that time; how he held a speech in June 1989 before a thousand of the People’s Deputies and spoke candidly about the Molotov-Ribbentrop Pact, the occupation of the Baltic countries, and freedom from the Soviet Union. It was very brave to speak like that back then. One could easily find themselves in a Siberian gulag. […] I had never done this before: I’ve always avoided directly interviewing people, or even having a hero in any of my documentary films. But now I have so much good material that it will become a book he reveals. What is in the film are just small excerpts from this interview. Interview with Sergei Loznitsa [導演訪問] the Cannes Film Festival.

105 AUTEURS 作者風 Mr Landsbergis 動地驚天革命過 Lithuania/The Netherlands/USA 立陶宛／荷蘭／美國 2021 | DCP/OnlineLithuanian | Colour/B&W | 248min Director Sergei Loznitsa Producer Uljana Kim Cinematographer Povilas Baltinas Editor Danielius Kokanauskis Sound Saulius Urbanavi ius Production Studio Uljana Kim World Sales Atoms & Void

本片長達四小時，立陶宛脫離蘇聯後第一任總統蘭德斯堡格斯以八十九歲高齡接受你訪問暢談當年事，很有意思。今時今日回顧這段歷史十分重要，因為所有事情彷彿又再重演。俄羅斯正在本土致力重建蘇聯，待他們完成，便會來搞我們──烏克蘭、波羅的海三國、高加索和中亞諸國，將無一倖免。這也是謹記蘇聯瓦解時發生過什麼如此重要的原因，當年的問題有太多至今仍未解決。為了拍攝本片，你作了什麼準備？首先要研究歷史和相關檔案資料。我們發現了很多由業餘人士拍攝的歷史片段，當時原來已有那麼多人拿起攝影機，令我感到訝異。當然，你可以想到影像質素怎樣，畢竟那是已有三十年歷史的錄像。幸好拉脫維亞數碼專家協助我們修復了其中大部分。最後，我們在羅馬尼亞公司協助下做了很多調色工作。我們於 2020 年 3 月開始籌備，那年夏天我和蘭德斯堡格斯做訪問，以每天五小時的進度，訪問了十五天。我從未這樣直接訪問一個人物，但現在得到的好材料，足夠我們出一本書。 Sergei LOZNITSA was born in Baranovichi, USSR (now Belarus) in 1964. After studying Applied Mathematics and working as a specialist in artificial intelligence research, he switched to filmmaking. In 2018, he won the Un Certain Regard Best director award for Donbass at

Albert SERRA was born in Spain, in 1975. He graduated in Hispanic Literature and Comparative Literature at the University of Barcelona, where he also studied history of He gained international recognition with his first feature, Honor of the Knights (2006). He won the Golden Leopard at Locarno for Story of My Death (13) and Cannes Un Certain Regard Special Prize for Liberté (19).

106 AUTEURS 作者風 France/Spain/Germany/Portugal 法國／西班牙／德國／葡萄牙 2022 | French | DCP | Colour | 165 min Director Albert Serra Producer Marta Alves, Pierre-Olivier Bardet, Dirk Decker, Joaquim Sapinho, Andrea Schütte, Albert Serra Scriptwriter Albert Serra Cinematographer Artur Tort Editor Ariadna Ribas, Albert Serra, Artur Tort Production Designer Sebastián Vogler Music Marc Verdaguer, Joe Robinson Sound Jordi Ribas Cast Beno t Magimel, Pahoa Mahagafanau, Marc Susini, Matahi Pambrun Production Idéale Audience Group, Andergraun Films, Tamtam Film, Rosa Filmes World Sales Films Boutique

Pacifiction 太平洋危險人物 Pacifiction marks a striking new turn in many respects. How did such an unusual project come about? It isn’t the first time that I’ve made a film taking place “in the present.” I’ve already made several, to my great enjoyment, in connection with commissions for the contemporary art world. The original project for Pacifiction was that of a film taking place in France. Yet, I didn’t want to film in Paris, the banality and dreariness of mainland bourgeois France with its streets and its cafés… I wanted something different, I wanted to go somewhere far away. Why not the French overseas territories? Little by little, a subject emerged, and I wrote a complete screenplay that is quite traditional in its construction. […] I enjoy writing screenplays. This one, in particular, is inspired by Tarita Teriipaia’s memoires. Tarita was married to Marlon Brando for ten years. They’d met while filming Mutiny on the Bounty (1962), in which she had one of the leading roles. In her memoires, she talks about her life with the actor, but also about her childhood. I found the contrasts that she brought up very interesting, first of all between the pure innocence of her childhood in Papeete and the sometimes noxious presence of the Westerners, secondly between this pristine paradise on earth and the arrival of a Hollywood filming crew. The rapport between an ideal paradise and actual corruption, but also between a certain reality and cinema’s make believe appeared rather inspiring to me… Albert Serra

art.

阿爾拔塞拉 1975 年生於西班牙，畢業於巴塞隆那大學，主修西班牙文學及比較文學，也修藝術史。他曾從事戲劇及錄像創作。2006 年憑首部劇情長片《唐吉訶德》開始受國際注目， 13 年憑《我的死亡紀事》贏得羅迦諾電影節金豹獎，更於 19 年憑《極慾森林》奪得康城「某種觀點」評審團特別獎。 SELECTED FILMOGRAPHY 主要作品 2006 Honour of the Knights 唐吉訶德 2008 Birdsong 三王來朝 2013 Story of My Death 我的死亡紀事 2016 The Death of Louis XIV 路易十四的最後時刻 2019 Liberté 極慾森林 ©Óscar Fernández Orengo

Interview with

[導演訪問] 本片在多方面，都和你舊作截然不同，這部特殊作品的起源是怎樣？這已不是我第一次拍「當下」的電影，我有數部委約作品是和當代藝術有關，拍得非常高興。《太平洋危險人物》原本會以法國為背景，但我就是不想在巴黎拍攝，我認為中產的法國本土，那些大街小巷和咖啡店，實在太庸俗和沉悶。我想試不同的東西，想去遙遠的地方，不如就到法國海外屬地吧。主題逐漸出現，我寫出一部結構頗為傳統的劇本。我一直喜歡寫劇本，而這部是由泰瑞皮婭的回憶錄所啟發。她曾和馬龍白蘭度結婚十年，兩人是在拍攝《叛艦喋血記》時認識，她是影片的一名主角。她在回憶錄不只談到和白蘭度的生活，也有提她的童年。我很喜歡看她筆下的種種反差，首先是她在巴比提的純樸童年，和有時令人討厭的西人的對比；其次就是這人間天堂，和一隊荷里活拍攝團隊到來之比較。理想的天堂遇上實在的腐化，電影的幻想世界和真實世界碰撞，都令我靈感湧現。

Production World Sales Charades

Production

Editor

Production

Films, Charades Productions, Logical Pictures,

Scriptwriter

107 Petrov’s Flu Petrovy v Grippe 意識流感 Russia/France 俄羅斯／法國 2021 | Russian | DCP | Colour | 146 min

Films,

Cinematographer

Director Kirill Serebrennikov Producer Ilya Stewart, Murad Osmann, Pavel Burya Kirill Serebrennikov Vladislav Opelyants, R.G.C Yuriy Karikh Designer Vladislav Ogay Music Igor Minyn, Igor Poptsov Sound Boris Voyt Cast Semyon Serzin, Chulpan Khamatova, Yulia Peresild, Yuri Kolokolnikov, Yuriy Borisov Hype Bord Cadre Razor Film

《意識流感》原著的主題、意象、重點甚為豐富，結構猶如一首交響樂曲：一些情節冒起，一些情節淡出，一些不斷重複，就像我們被困於主角高燒的腦袋內。我喜愛薩尼科夫小說的交響樂結構。於我而言，《意識流感》是與一位傑出作者合作，他創造的世界令我深感共鳴，希望大家亦有同感。我與出色的演員及製作團隊合作，嘗試表達出大家心目中的俄羅斯：透過分享我們的童年回憶、恐懼、歡欣，告訴觀眾我們的愛惡、憤怒之事、喜愛之事，分享我們的寂寞與夢想……我希望影片充滿感性和愛。我從沒計劃拍此片，它自然而來，抓住我，我欣然投降。在我身處黑暗之時，它闖進我的生命，成為我宣洩的出口及快樂的主要泉源，甚至可能是我的救生索。這一切令影片變得那樣友善和坦誠。 Kirill SEREBRENNIKOV was born in 1969 in Rostov-na-Donu, USSR, now Russia. He is a stage and film director, and also a writer. He has been the Artistic Director of The Gogol Center from 2012-2021.

基維爾謝列布尼科夫 1969 年生於前蘇聯頓河畔羅斯托夫。身兼戲劇及電影導演，亦是編劇。2012 至 2021 年間擔任果戈里中心的藝術家總監。前作《搖滾盛夏》(18 ) 入圍康城影展主競賽。 SELECTED FILMOGRAPHY 主要作品 2008 Yuri’s Day 尤利的一天 2016 The Student 門徒 2018 Leto 搖滾盛夏 2021 Petrov’s Flu 意識流感 2022 Tchaikovsky’s Wife 柴可夫斯基之妻 AUTEURS 作者風 Persons Aged 18 and Above Only 只准18歲或以上人士

The Petrovs In and Around the Flu is incredibly rich in themes, motifs, focal points and is structured as a symphony: some plots pop up, some fade out, some keep repeating, as though we are stuck inside the mind of the feverish mind of the protagonist. I just love the symphonic structure in Salnikov’s work. To me, Petrov’s Flu is working with an amazing author, whose universe turned out to be so relatable to me, and, I hope, to all of us, too. I got to work with outstanding actors and a fantastic crew. It was an attempt to express what Russia is to all of us: by sharing our childhood memories, our fears, our joys, by telling the audience what we love and hate, what enrages us and what we adore, by sharing our loneliness and our dreams... I wanted this film to be very sensual and filled with love. I never actually planned to shoot this film, it just somehow came to me, captured me, and I was so happy to give in. It was there in my life when I was in a rather dark place, and it became a way to vent and the main source of happiness, and to some extent, it might have even been my lifeline. All of which made it absolutely sincere and frank. Kirill Serebrennikov [導演的話] His previous film, Leto (18) was part of the main Competition at Cannes.

Production Designer Anna Falguères

108 AUTEURS 作者風 Belgium/Luxembourg/France 比利時／盧森堡／法國 2021 | French | DCP | Colour | 118 min

The Restless Les Intranquilles 躁愛 How did you come up with the idea for this film and how did it take shape? Initially, the script was inspired by my experience with my bipolar father. He wanted to be a photographer and indeed was one for a while, but he didn’t really fulfil his dream. He left me with a great admiration for portrait artists… The film came to life as I always dreamed my films would. It feels like it’s not dogmatic and lives alongside its actors, who allow themselves to be observed. Indeed, it’s because of them that everything works. It all really started coming together when Leïla Bekhti and Damien Bonnard came on board; when I saw them take charge of the characters, when I saw they really wanted to do something with them. For the first time, I didn’t have to assert myself, I simply had to observe… I was overwhelmed by the strength and resistance Leïla Bekhti brought to the film. She conveyed desire, sensuality, fatigue, and an ability to say “No”, which I think is quite rare. From her first reading, Leïla understood that this was not a film about bipolar disorder but rather a questioning of our capacity and limits with regard to our commitment to love. Realising how quickly she had grasped the unsettled nature of her character was a great relief and stopped it from becoming a “themed” film. Interview with Joachim Lafosse

Production Stenola Productions, Samsa Film, KG Productions, Prime Time World Sales Luxbox

[導演訪問] 影片的意念從何而來，又如何成形？劇本最初是啟發自我與患躁鬱症父親的親身體驗。他想成為畫家，亦曾短暫從事繪畫，但終究沒有達成夢想。他令我對肖像畫家極為仰慕。影片有了生命，正如我一直所想像的。感覺上它不是僵化教條式的，而是與任鏡頭觀察的演員同呼同吸。正正因為他們，所以一切順利。自萊拉貝蒂和戴米安般納加入後，當我看見他們承擔起角色，想為角色盡力而為的時候，影片便開始成形。這是首次我毋須展現自己，而只需從旁觀察。我們只知道跟隨演員，以其身高的水平線拍攝。當然不是說任由他們想怎樣便怎樣；如需要一個反拍鏡頭，我們便去做，但我們毋須擔心。影片必須愛其演員。在劇本中萊拉的角色是脆弱的，受孩子父親的思覺失調所困擾。我對萊拉貝蒂賦予角色的力量及反抗意識深感震撼。她呈現出渴望、情慾、疲憊，以及敢於說不的能力，我想那是很罕見的。一開始圍讀，萊拉便明白影片並非關於躁鬱症，而是詰問我們愛的承諾之能力與界限所在。了解她很快便捕捉到人物的焦慮不安，令我如釋重負，也令影片超越了一部「主題」電影。

was

Joachim LAFOSSE born in 1975 in Uccle, 1975

Sound Dirk Bombey Cast Leïla Bekhti, Damien Bonnard, Gabriel Merz Chammah

Belgium and attended l’Institut des Arts de Diffusion in Louvain-la-Neuve, Belgium. After graduating, he wrote screenplays and theatre pieces and completed several short films, including Egoïste nature (2000) and Tribu (01). In 2004, he completed his feature debut, Private Madness 華堅拿科士

年生於比利時于克勒，畢業於比利時勒芬拉奈夫藝術傳播學院。畢業後編寫電影及舞台劇本，拍過幾部短片，包括《天生自私鬼》( 2000)、《物以類聚》( 01 ) 等。 04 年完成首部長片《獨自瘋癲》。 SELECTED FILMOGRAPHY 主要作品 2006 Private Property 給我一個安寧的家 2012 Our Children 誰知媽媽心 2015 The White Knights 白武士神聖任務 2016 After Love 當愛已成往事 2018 Keep Going 天涯伴我行 2021 The Restless 躁愛 ©Stenola Productions

Director Joachim Lafosse

Music Olafur Arnalds, Antoine Bodson

Producer Anton Iffland Stettner, Eva Kuperman, Jani Thiltges Scriptwriter Joachim Lafosse Cinematographer Jean-François Hensgens

Editor Marie-Hélène Dozo

filmmaker, his first feature-length film, Drifting States (2005), won the Golden Leopard (Video Competition) at Locarno International Film Festival. He is one of the most prominent filmmakers within contemporary Quebec cinema. 丹尼郭迪 1973 年生於加拿大紐賓士域，蒙特利爾阿安色大學電影系畢業，曾當新聞工作者及影評人。2005 年憑首部長片《北國》獲羅迦諾電影節最佳錄影作品獎。作品包括劇情片及紀錄片，可說是當代魁北克電影導演的佼佼者。 SELECTED FILMOGRAPHY 主要作品 2005 Drifting States 北國 2010 Curling 冰上滾石 2016 Boris Without Béatrice 折翼大丈夫 2017 A Skin So Soft 爆肌六壯士 2019 Ghost Town Anthology 人間鬼鎮 2021 Social Hygiene 戲在瘟疫蔓延時 AUTEURS 作者風 Persons Aged 18 and Above Only 只准18歲或以上人士 ©Lou Scamble

109 That Kind of Summer Un Été Comme Ça 性治療夏令營 Canada 加拿大 2022 | French | DCP | Colour | 138min Director Denis Côté Producer Sylvain Corbeil, Audrey-Ann Dupuis-Pierre Scriptwriter Denis Côté Cinematographer François Messier-Rheault Editor Dounia Sichov Production Designer Marie-Pier Fortier Music Joss Dumas - Bandit Sound Yann Cleary, Sacha Ratcliffe, Stéphane Bergeron Cast Larissa Corriveau, Aude Mathieu, Laure Giappiconi, Samir Guesmi, Anne Ratte Polle Production Metafilms World Sales Shellac

[導演訪問] 在這個開放式片名背後，是需要小心處理的話題。這樣的想法從何而來？首先，我注意到魁北克的電影很少以毫不忌諱、無拘無束的方式去處理關於性的話題。我很難想出哪部當代電影有開始提出這個主題。我並不特別覺得我是適合做這件事的導演，或是該由我來彌補銀幕上的這個盲點。然而之後，當我讀到紐約歷史學家卡洛葛倫恩曼那本關於性上癮女性的有趣著作後，拍攝計劃就成形了。我想寫一個劇本，善意觀察這些複雜的角色，不加批評或給出簡單答案。可能有點奇怪是這部電影並非有什麼訊息或論點的「議題電影」。身為男性，我對於這個不屬於我的私密世界很感興趣。我需要慢慢尋找方向並挪為己用。這當然是有風險的。這部電影各個製作階段的創作團隊都是以女性為主。我以女性視角包圍自己，令計劃成事。完成這部電影以來，我得到的最好讚美首先是「這是一部丹尼郭迪電影」，然後是，構思和執導的人「有做功課」呢。 Denis CÔTÉ was born in New Brunswick, Canada in 1973. As a film

Behind a rather open-ended title, That Kind of Summer tackles a delicate topic. How did you come up with an idea like that?

First, I noticed that in Quebec, movies rarely tackle sexuality very openly or in an uninhibited way. I had a hard time coming up with contemporary films that broach the subject. I didn’t particularly feel like I was the right filmmaker for the job or that it was up to me to make up for this blind spot on our screens. Then, I read a fascinating book about nymphomania by Carol Groneman, a New York-based historian. That’s when the project really took off. I felt like writing a script that looked kindly on these complex characters, that didn’t pass judgment or give easy answers. Something a bit twisted that wouldn’t be an “issue film” with a message or a thesis. As a man, I was interested in a private world that didn’t much belong to me. I had to slowly navigate it and appropriate it. [...] I surrounded myself with female perspectives to get the ball rolling. My creative team was largely female at all stages of production. Denis Côté critic-turned

寫日記通常是按照時序，反過來是不尋常的想法。這個意念是怎樣想到的？全球疫情和隔離，改變了我們對時間的觀念。透過逆向的日記，我們能以最簡單方式達到改變時間的感覺。這真的是一部非常簡單的電影。我們一開始就知道將按照「正常」時序拍攝，然後倒敘剪接。我們也知道故事將以一場吻戲結束。到此時為止，我們已被隔離夠長時間了，受感染風險非常低……接吻在電影很常見，卻因疫情成了禁忌。在倒敘剪接時，我們從那吻戲開始。這個吻是虛構故事的草圖速寫，永不會成為現實。事實上，電影倒轉時序，以便從虛構故事的預期，轉為房子裏的日常故事。這就是我們這部電影的戲劇高潮。同樣重要的，是在封城期間，為了彌補無法去戲院的遺憾，我們在自己客廳辦了一次導演回顧，從一位導演的最後一部電影開始，以他的首部電影結束。以尊福為例，我們注意到影片裏的尊榮一天天變年輕。我們的電影沒有尊榮，但確實有一個木梨……

The Tsugua Diaries

Scriptwriter Maureen Fazendeiro, Miguel Gomes, Mariana Ricardo Cinematographer Mário

年生於葡萄牙里斯本，大學修讀電影，曾於報章寫影評，2004 年執導首部長片《尊容活該》。

World Sales The Match Factory Diários de Otsoga

Interview with Maureen Fazendeiro and Miguel Gomes [導演訪問]

月八拍攝日誌

Director Maureen Fazendeiro, Miguel Gomes Producer Luís Urbano, Filipa Reis, Sandro Aguilar, João Miller Guerra

Editor Pedro Filipe Marques Production Designer Andresa Soares Sound Miguel Martins, Vasco Pimentel Cast Crista Alfaiate, Carloto Cotta, João Nunes Monteiro Production O Som e a Fúria, Uma Pedra no Sapato

The purpose of a diary is usually to follow the passage of time, the thread of life. It’s a strange idea to rewind this thread and offer a diary in reverse. How did the idea come to you? The pandemic and the confinement altered our perception of time. With an inverted diary, we were able to achieve the sensation of altered time in the simplest way possible. It’s really a very simple film. We knew from the beginning that we were going to shoot in a “normal” chronological order and then edit it backwards from the last day to the first. And we also knew that we were going to end the shooting with a kissing scene. By this time, we’d been locked down long enough for the risk of contamination to be very low… Kisses are common in cinema, but they’ve become a taboo due to the pandemic. When editing the film in reverse, we started with the famous kiss scene. This kiss is the sketchy outline of a fiction that never becomes real. As a matter of fact, the film inverts the chronology in order to move from this promise of fiction to the fiction of the day to day inside the house. Such is the dramaturgical “crescendo” of our film.

莫琳法森蒂羅 1989 年生於法國克雷泰伊，於巴黎第七大學修讀文學、藝術及電影。美基哥姆斯是其配偶及創作伙伴。 SELECTED FILMOGRAPHY 主要作品 2008 Our Beloved Month of August 戀戀八月天 2012 Tabu 禁忌 2015 Arabian Nights trilogy 一千零一夜三部曲 2021 The Tsugua Diaries (co-dir ) 月八拍攝日誌（合導） FILMOGRAPHY 作品年表 2014 Motu Maeva ( short) 摩圖瑪娃島（短片） 2019 Black Sun ( short) 黑日（短片） 2021 The Tsugua Diaries (co-dir ) 月八拍攝日誌（合導）

Castanheira

美基哥姆斯

Miguel GOMES was born in 1972 in Lisbon, Portugal. He studied at Lisbon Film and Theatre School and was also a film critic. He directed his first feature film, The Face You Deserve, in 2004. 1972

110 AUTEURS 作者風 Portugal/France 葡萄牙／法國 2021 | Portuguese/Romanian | DCP | Colour | 101min

Maureen FAZENDEIRO was born in 1989 in Créteil, France. She studied literature, art and cinema at Denis Diderot University in Paris. She now lives in Lisbon.

Interview

[導演訪問] 影片的意念從何而來？多年來我一直想跟年長的人一起拍戲。從我祖父母，以及我母親身上，我意識到老年牽涉非常複雜的生存問題，導致無可抵擋的情況，令那些一直最保護你的人，變回了小孩一樣。因此我構思出一部敘事極簡單的電影，其中一人腦退化，失去運用語言的能力，而她的孫兒則還沒掌握語言，我以這兩個極端的暫時階段，概括人生。這是我首部面向所有觀眾的影片，由於它所描述的情況非常普遍，多數人已經歷過，或將會經歷，因此也是最難拍的。我已經拍過叫人吃驚、興奮或發噱的電影。這次我想拍一部令人在生活中哭得像我一樣厲害的電影，就像在戲院裏一樣。當淚水觸及眼皮，確有鎮靜作用，這使它成為最令人愉悅的物質之一。這部電影或許講的就是我們身處的空虛，我們正漂浮其中。有人對我說它令人想起《死心不息》，因為它在說生命才是巨大的空虛，而不是死亡。如同紙牌屋整個塌下，這只是一個由基因早已編寫好的解體過程。正如我們為康城影展所寫的劇情簡介：生命是一場即將被遺忘的短暫派對。 Gaspar NOÉ was born in Buenos Aires, Argentina, in 1963. A former student at the Louis Lumière College, he directed several short films such as Carne (91), which won the Critics’ Week Prize at the Cannes Film Festival. He

[…] I’ve already made films that scared people, turned them on, or made them laugh. This time I wanted to make a film that made them cry as hard as I could cry, in life as at the cinema. Tears really do have a sedative effect when they come into contact with the membranes of the eyelids, which makes them one of the most pleasurable substances there are.

加斯柏盧埃 1963 年生於阿根廷布宜諾斯艾利斯，現居法國。曾於盧米埃電影學院進修， 91 年執導《賤肉》，贏得康城影展影評人周大獎。影像風格迷幻大膽，曾以《勁凹 3D 》的性愛場面於康城影展挑起爭議。 SELECTED FILMOGRAPHY 主要作品 1998 I Stand Alone 我企硬 2002 Irréversible 無可挽回 2009 Enter the Void 死心不息 2015 Love 勁凹 3D 2018 Climax 舞．極樂 AUTEURS 作者風 ©2021 RECTANGLE PRODUCTIONS – WILD BUNCH INTERNATIONAL

111 Vortex 歲月的漩渦 France 法國 2021 | French | DCP | Colour | 142 min Director Gaspar Noé Producer Edouard Weil, Vincent Maraval, Brahim Chioua Scriptwriter Gaspar Noé Cinematographer Benoît Debie Editor Denis Bedlow, Gaspar Noé Production Designer Jean Rabasse Sound Ken Yasumoto Cast Françoise Lebrun, Dario Argento, Alex Lutz, Kylian Dheret Production Rectangle Productions, Wild Bunch International World Sales Wild Bunch

[…] It’s just the story of a genetically programmed disintegration, when the whole house of cards collapses. As we wrote for the Cannes Film Festival synopsis: Life is a short party that will soon be forgotten. with Gaspar Noé now lives in France.

What was the origin of Vortex?

I’ve been wanting to make a film with elderly people for several years. With my grandparents, then with my mother, I realised that old age involves very complex survival issues. It generates overwhelming situations in which those who have protected you most revert, in turn, to their childhood. So I imagined a film with an extremely simple narrative, with one person in a state of mental deterioration losing the use of language, and her grandson who has not yet mastered it, as two extremes of this brief experience that is human life.

名導 POP-UP 卡米拉安迪妮 Kamila Andini 《娜娜的逝水年華》 Before, Now &(p.116)Then 《紫色女孩的婚事》(p.117)Yuni戴利奧阿真圖 Dario Argento 《無明殺機》薩巴斯蒂安邁沙 Sebastian Meise 《羈不住的自由》 Great Freedom(p.23) 露芙柏克曼 Ruth Beckermann 《好色情荼毒室》 MUTZENBACHER(p.57) 陳哲藝 Anthony Chen 《暴風之年》 The Year of the Everlasting Storm(p.29) 曼尼哈喜希 Mani Haghighi 《阿巴斯陪你睇〈報告〉》 A Conversation on The Report (p.93) DIRECTORS

WORLD CINEMA 世界電影 Global Vision 環球視野

World

Rai

A Chiara 逆女成人禮 Do you see A Chiara as the third part of a triptych which started with Mediterranea, then A Ciambra?

Music Joe Rudge, Dan Romer, Benh Zeitlin Sound Giuseppe Tripodi Swamy Rotolo, Claudio Rotolo, Grecia Rotolo, Carmela Fumo, Giorgia Rotolo Stayblack Productions, Cinema Sales mk2

Films

Cast

Production

Yes. I arrived in Gioia Tauro, Calabria, in 2010. Two African migrants had just been attacked and beaten and this resulted in a violent riot which was the subject of A Chjàna, the short film I directed before Mediterranea. Later I became acquainted with Pio and the Roma community which I eventually filmed in my film A Ciambra. At first, in 2010, I didn’t have the idea of a triptych in mind at all, I just wanted to learn more about the riots. But pretty soon, I knew I was going to make these three films without knowing exactly what form it would take, but I remember finishing the first treatment of A Chiara three weeks before I started shooting A Ciambra in 2016. Interview with Jonas Carpignano [導演訪問]

114 GLOBAL VISION 環球視野 Italy/France 意大利／法國 2021 | Italian | DCP | Colour | 122 min Director Jonas Carpignano Producer Jon Coplon, Paolo Carpignano, Ryan Zacarias, Jonas Carpignano Scriptwriter Jonas Carpignano Cinematographer Tim Curtin Editor Affonso Gonçalves Production Designer Marco Ascanio Viarigi

《逆女成人禮》是否繼《地中海》及《惡童成人禮》後的第三部曲？是。2010 年我來到意大利卡拉布里亞省的焦亞陶羅，那時有兩個非洲移民被襲擊毆打，引起暴亂，遂成為我執導《地中海》前所拍短片《種族騷亂》的主題。我移居當地不久，與皮奧及羅姆人（吉卜賽）社區混熟後，便拍成《惡童成人禮》。起初沒想過要拍三部曲，只想了解暴亂多些。但不久我便知道想拍三部電影，講述這小鎮的三種面貌。首先是非洲人社區，其次是羅姆人社區，他們曾是遊牧民族，現已長居於焦亞陶羅。最後是「馬拿維他」人，那些與黑手黨地下經濟圈相關的人。但當時尚未清楚該以什麼形式拍攝，不過我記得是在寫完《逆女成人禮》初稿三星期後，就在 2016 年開拍《惡童成人禮》。三部曲裏的焦亞陶羅像是全球化的試驗場。焦亞陶羅無疑是社會和經濟趨勢的縮影，普遍稱之為全球化。但我認為要達致一體互通，唯一方法是要夠精準、熟悉及地道。此小鎮巧妙交織了這些要素。這裏有地下經濟圈、貧困戶及大量移民。2012 年前，幾乎無人提及非洲移民苦況，我在電影把他們的現實生活和經歷呈現出來。拍《惡童成人禮》及《逆女成人禮》的情況亦類似。 Jonas CARPIGNANO was born in 1984, and grew up between Rome and New York. He began making films at Wesleyan University and after graduating continued working on film sets in Italy and the US. He made his first feature Mediterranea in 2015. 鍾納斯卡皮那諾 1984 年出生，於羅馬及紐約市度過童年，就讀美國維思大學期間開始拍電影。 2015 年拍成首部長片《地中海》。 SELECTED FILMOGRAPHY 主要作品 2012 A Chjàna (short ) 種族騷亂（短片） 2014 A Ciambra (short) 吉普賽少年（短片） 2015 Mediterranea 地中海 2017 A Ciambra 惡童成人禮 2021 A Chiara 逆女成人禮 ©2021 Stayblack Productions Haut et Court Arte France Cinéma Rai Cinema ©Stayblack Productions

[導演訪問] 這部電影是關於什麼的？這是一個關於道別的故事。貞雅害怕自己無法面對親近的人離開，她非常害怕失去，以至她避免投入於任何關係。她堅信，無論誰退出她的生活，她都能夠漠然不動。在她眼中，被這些小事影響的人是軟弱的。然而僅僅因為某人不再在你身邊，並不意味這段關係毫無意義。如果這是真的，生活將是空虛的。對我來說，兩個人之間共享的時間和情感，可能在一夜之間失去所有意義，比起分道揚鑣的刺痛更加難以承受。貞雅對於獨自達到滿足人生有誤解。她認為這意味沒有道別，而避免道別的唯一方法，就是避免建立關係。因此她不斷把新同事推開，也沒跟鄰居說話。由於未來的不確定，我們常常無法鼓起勇氣完全擁抱一段關係。 HONG Sung-eun was born in 1988 in Gyeonggi Province, South Korea. After receiving a B.A. in Business Management and working at a state-owned company, she graduated from Korean Academy of Film Arts in 2018. Aloners is her debut feature. 洪性恩 1988 年生於韓國京畿道。先修讀工商管理，曾於國營公司任職， 2018 年畢業於韓國電影藝術學院。《孤獨熱線》是她編導的首部劇情長片。 FILMOGRAPHY 作品年表 2018 Good Father (short ) 好爸爸（短片） 2021 Aloners 孤獨熱線

115 GLOBAL VISION 環球視野 Aloners Hon-ja-sa-neun Sa-ram-deul 孤獨熱線 South Korea 南韓 2021 | Korean | DCP/Online | Colour | 91 min Director Hong Sung-eun Producer Lee Seung-won Scriptwriter Hong Sung-eun Cinematographer Choi Young-ki Editor Hong Sung-eun Production Designer Kim Do-en Music Lim Min-ju Sound DOLUCK Cast Gong Seung-yeon, Jung Da-eun, Seo Hyun-woo Production Korean Academy of Film Arts World Sales M-Line Distribution

What is the film about?

Interview

Aloners is a story about saying goodbye. Jina is afraid she won’t be able to cope if someone she has grown close to were to leave her. She is so afraid of the prospect of losing someone that she avoids all forms of commitment. She firmly believes that she must remain unshaken no matter who might exit her life. She sees people who are affected by such trivial things as being weak. But just because someone is no longer by your side doesn’t mean that the relationship was meaningless. If that were true, life would be quite empty. The idea that the times and emotions shared between two people can lose all meaning overnight is, for me, more unbearable than the sting that comes from parting ways. Jina has misconceptions about what it means to live a fulfilling life on one’s own. She assumes it means a life free of goodbyes and believes the only way to prevent saying goodbye is to avoid relationships altogether. For this reason, she keeps pushing Sujin away. It is also why she doesn’t talk to her next-door neighbour. We often fail to muster the courage to fully embrace a relationship because of the uncertainty of the future. with Hong Sung-eun

116 GLOBAL VISION 環球視野 Indonesia 印尼 2022 | Indonesian | DCP | Colour | 103 min Director Kamila Andini Producer Ifa Isfansyah, Gita Fara Scriptwriter Kamila Andini, Ahda Imran Cinematographer Batara Goempar Editor Akhmad Fesdi Anggoro Production Designer Vida Sylvia Music Ricky Lionardi Sound Nakorn Kositpaisal, Suchada Supromin Cast Happy Salma, Laura Basuki, Arswendy Bening Swara Production Fourcolours Films World Sales Wild Bunch

女性是我們的時代真正的受害者。但在每個時代，總有一個女性身影，從沒視自己為受害者，即使她也免不了作出犧牲。這是一個女人的故事，她是那個時代（戰亂、政治、起義及父權社會）的受害者，她想尋找自由的意義，尤其是身為女性。她與丈夫的情婦建立了友誼，因為這是她唯一能取得支援的途徑。印尼獨立並不保證人民自由；壓力以千變萬化形式出現。透過這部電影，我想展示今天仍然壓迫女性的各種壓力。影像配合聲音，表達出娜娜的情緒及焦慮。本片談及一個女人的秘密，關於她如何隱藏自己的問題。它將政治環境、家庭問題、焦慮及個人幸福置於日常小事中。頭髮成了貫徹影片的女性隱喻。這是一部簡單的時代電影，所用的是溫柔筆觸與微妙構圖。攝影機緩慢移動或保持靜止，畫面像畫一般。演員表現就像在舞台上一樣，將揭示角色的不同層次。場景設計極其重要，將外面世界帶入室內，在最小的空間尋求自由，並揭開微小物件的歷史，尤其透過女性的頭髮和身體。女性必須善於保守秘密，包括她自己和家人的秘密。如有問題，讓它隱藏在頭髮下面。

Before, Now & Then Nana 娜娜的逝水年華 Women are the real victims of our times. But in every era, there is always the figure of a woman who has never once made herself a victim, even if she cannot be separated from making sacrifices. Before, Now & Then is the story of a woman who is the victim of an era – war, politics, rebellion and the patriarchal society – and who wants to find the meaning of her own freedom, as a woman. She forms a friendship with one of her husband’s mistresses, because that is the only way she can get support. Independence for Indonesia did not guarantee freedom for its people; pressure comes in ever-changing forms. With this film I want to show the many forms of pressure that continue to oppress women today. The image will work with sound to express Nana’s emotions and anxiety. Before, Now & Then talks about a woman’s secrets, about how she keeps her problems hidden. It locates political circumstances, domestic problems, anxieties and personal happiness within small, everyday events. Hair becomes a binding metaphor for women throughout the story. This is a simple period film, employing a gentle touch and subtle compositions.

卡米拉安迪妮 1986 年生於雅加達，父親是知名導演嘉連奴高浩。澳洲墨爾本迪肯大學社會學及媒體藝術系畢業，之後執導紀錄片及音樂錄像，2011 年完成首作《鏡子不說謊》，獲香港國際電影節國際影評人聯盟獎。 SELECTED FILMOGRAPHY 主要作品 2011 The Mirror Never Lies 鏡子不說謊 2017 The Seen and Unseen 通靈月舞 2021 Yuni 紫色女孩的婚事 2022 Before , Now & Then 娜娜的逝水年華

Kamila ANDINI was born in Jakarta, Indonesia in 1986. She graduated from Deakin University, Melbourne, Australia, majoring in sociology and media arts and started her professional career as a documentary filmmaker and also a TV film/music video director. She is the daughter of Indonesian auteur director Garin Nugroho.

Kamila Andini [導演的話]

Yuni is the name of a girl who was born in June. This film was inspired by a famous poem in Indonesia titled “Rain in June”. A rain, which falls not in the right season. So, I wanted to build this character of Yuni. A girl who is forced to bloom, not in the right moment. A teenager who is full of dreams, especially with social media today showing her that the world is in her hands, yet what she has to think about is marriage and facing proposals. I have heard so many stories in my country of teenage girls wasting their potential through marriage, and I felt I needed to talk about this. But this particular story is not about beating society; it’s about liberating ourselves. This film is talking about control. Showing the clash and contrast in society is something that I want to play around with in this film. But also use an intimate and personal approach to show the distance that Yuni feels from herself and her place. The alienation of her age, her choice, her village, her dreams.

was born in Jakarta, Indonesia in 1986. She graduated from Deakin University, Melbourne, Australia, majoring in sociology and media arts and started her professional career as a documentary filmmaker and also a TV film/music video director. She is the daughter

117 GLOBAL VISION 環球視野 Yuni 紫色女孩的婚事 Indonesia/Singapore/France/Australia 印尼／新加坡／法國／澳洲 2021 | Indonesian | DCP/Online | Color | 95 min Director Kamila Andini Producer Ifa Isfansyah Scriptwriter Kamila Andini, Prima Rusdi Cinematographer Teoh Gay Hian Editor Lee Chatametikool Production Designer Budi Riyanto Karung Music Alexis Rault Sound Lim Ting Li Cast Arawinda Kirana, Kevin Ardilova, Dimas Aditya, Marissa Anita, Asmara Abigail Production Fourcolours Films World Sales Cercamon

[導演的話] 菀妮即是六月出生的女孩。這部電影的靈感，來自印尼一首著名詩歌《六月的雨》。一場不合季節的雨。因此我想塑造菀妮這個角色，一個在不適當時間被迫早熟的女孩。她是充滿夢想的少女，尤其是透過現今社交媒體能接觸到世界，但她已需要考慮婚姻和面對求婚。我聽過很多印尼有潛質的少女敗給婚姻的故事，我覺得有必要談談這個。但這個故事並非在於鞭撻社會，而是關於解放自我。影片講的是控制，我想展現它在社會中造成的衝突和對比，但亦以私密和個人的方式，來表現菀妮對自己以及她的家所感到的距離，那是遠離她的年紀、選擇、村莊和夢想的一種疏離。

Kamila ANDINI of auteur director

Indonesian

Kamila Andini

Garin Nugroho. 卡米拉安迪妮 1986 年生於雅加達，父親是知名導演嘉連奴高浩。澳洲墨爾本迪肯大學社會學及媒體藝術系畢業，之後執導紀錄片及音樂錄像，2011 年完成首作《鏡子不說謊》，獲香港國際電影節國際影評人聯盟獎。 SELECTED FILMOGRAPHY 主要作品 2011 The Mirror Never Lies 鏡子不說謊 2017 The Seen and Unseen 通靈月舞 2021 Yuni 紫色女孩的婚事 2022 Before , Now & Then 娜娜的逝水年華

雲信勒波爾 1986 年生於法國雷恩，畢業於法國國家視聽高等學院。製作公司 Stank 共同創辦人。《魔童殺人自白書》是他執導的首部劇情長片。 SELECTED FILMOGRAPHY 主要作品 2016 Le Gouffre (short) 深淵（短片） 2017 Dieu et le Raté (docu) 上帝與失敗（紀錄片） 2021 Bruno Reidel: Confession of a Murderer 魔童殺人自白書 Persons Aged 18 and Above Only 只准18歲或以上人士

你怎樣知道布魯諾里德爾的故事？有什麼吸引你？ 2011 年，我從史蒂芬柏哥所著的《連環殺手》知道他的故事。這位年輕康塔爾農家子弟，在芸芸惡名昭彰的連環殺人犯中並不起眼，而且嚴格來說他不是連環殺人，他只殺了一人。他的故事令我着迷，因為這是個獨特時空，殺人暴行跟每個人對般奴的印象（好學生、虔誠、害羞、弱小的形象）形成鮮明對比，還有相當令人不解的矛盾，就是他向當局自首，卻又顯然對殺人毫無悔意。我到拉卡薩涅教授（當年受託為布魯諾進行法醫檢查的犯罪學家）位於里昂的資料庫進行資料搜集，找到了布魯諾的自白書，觸發了我的創作。看到他如此實在、顯而易見又同時難以捉摸的痛苦，令我深感不安。在當年報章描述的喪心病狂背後，我看到一個畢生在自我對抗的少年。這部電影必須超越事件表面，描繪他隱藏一面、他所抗衡的潛在衝動、與人溝通或獲取幸福的障礙，這些可令人或多或少產生共鳴。影片也問了一個問題：如何對抗自己已根植於內心的東西，我們能「擺脫」自己嗎？令我感興趣的，正是有關命運和自由意志的課題。 Vincent LE PORT was born in 1986 in Rennes, France. He graduated from La Fémis in film directing. He co-founded the production company Stank through which he has produced various projects, such as Le Gouffre (short film). Bruno Reidal: Confession of a Murderer is his first

118 GLOBAL VISION 環球視野 France 法國 2021 | French | DCP | Colour | 101 min

Bruno Reidal: Confession of a Murderer Bruno Reidal 魔童殺人自白書 How did you find out about Bruno Reidal? What interested you in his story? I discovered his existence in 2011 in the book Serial Killers by Stéphane Bourgoin. […] I started to do research in Lyon, in the archives of Professor Lacassagne, the famous criminologist, who had been entrusted with Bruno’s forensic examination. Among these archives, it was the discovery of the young man’s memoirs that was a trigger. What disturbed me was to witness a suffering that was so tangible, so obvious, yet so elusive. It was to see, behind the monster that the newspapers were describing at the time, a young boy who had been fighting against himself all his life. Where I thought the film should go beyond the news story is in this portrait of a hidden, invisible life, in the buried impulses he fought, in his inability to communicate or to achieve happiness, which can resonate with anyone, each on their own scale. Then it posed this question: How can we fight against what we are, intrinsically deep inside? Can we “get rid” of ourselves? There was something in his story about fate and free will that interested me.

Interview with Vincent Le Port [導演訪問] feature film.

Director Vincent Le Port Producer Roy Arida, Thierry Lounas, Pierre-Emmanuel Urcun Scriptwriter Vincent Le Port Cinematographer Michaël Capron Editor Jean-Baptiste Alazard Production Designer Arnaud Lucas Sound Marc-Olivier Brullé, Arnaud Lucas Cast Dimitri Doré, Jean-Luc Vincent, Roman Villedieu, Alex Fanguin, Tino Vigier, Nelly Bruel Production Capricci Films, Stank World Sales Indie Sales

119 GLOBAL VISION 環球視野 Captain Volkonogov Escaped Kapitan Volkonogov Bezhal 贖罪狂奔 Russia/France/Estonia 俄羅斯／法國／愛沙尼亞 2021 | Russian | DCP | Colour | 126 min Director Natasha Merkulova, Aleksey Chupov Producer Valeriy Fedorovich, Evgeniy Nikishov, Aleksandr Plotnikov Scriptwriter Natasha Merkulova, Aleksey Chupov Cinematographer Mart Taniel Editor François Gedigier Production Designer Sergey Fevralev Music Elena Stroganova, Matis Rei Sound Matis Rei Cast Yuriy Borisov, Timofey Tribuntsev, Nikita Kukushkin, Aleksandr Yatsenko, Natalya Kudryashova Production Place of Power, LOOKFILM World Sales Memento Films International

Natasha Merkulova and Aleksey Chupov

[導演的話] 《贖罪狂奔》可說是一篇混合了懸疑片元素的後現代寓言。故事講述一名劊子手駭然發現自己靈魂尚存一絲氣息但亦不久於世。為了拯救自己的靈魂，他必須分秒必爭展開一場自我靈性救贖之旅。作為這部電影的創作者，我很遺憾酷刑依然在現實世界存在，每天仍有施刑者對受刑者嚴刑拷打。只要制度逼迫，人人都可以成為劊子手；但在那之後，大家能被寬恕嗎？天堂的大門還會為劊子手們打開嗎？ Persons Aged 18 and Above Only 只准18歲或以上人士 Natasha MERKULOVA and Aleksey CHUPOV This writing-directing partnership began in 2013 with Intimate Parts, which played at numerous festivals including Karlovy Vary and Busan. Their second feature, The Man Who Surprised Everyone (18), was selected for Venice Orizzonti, where Natalya Kudryashova won Best Actress. 娜塔莎梅古洛娃、阿力西楚波夫 2013 年起共同執導電影《私密地帶》，後一直維持合作關係。二人共同執導的第二部長片《嘩眾之人》 ( 18) 入圍威尼斯影展地平線單元，並為女主角贏得該單元的影后殊榮。 SELECTED FILMOGRAPHY 主要作品 2013 Intimate Parts 私密地帶 2018 The Man Who Surprised Everyone 嘩眾之人 2021 Captain Volkonogov Escaped 贖罪狂奔

This film is a post-modernist parable with the elements of a mystical thriller. The story is a dark tale about an executioner who suddenly discovers that he’s got a soul. Now his soul needs to be saved but he has very little time left for this. The desperate chase for spiritual redemption begins. The authors of the film find it extremely hard to live with the idea that torture still exists in the modern world, that some people are still torturing others somewhere every day. Anyone can potentially become an executioner if the system decides to turn you into one. But is it possible to be forgiven after that? Is there a heaven for executioners?

The Exam Ezmûn 出貓大風暴 The Exam is a suspenseful drama displaying the reality of two young women living in today’s Iraqi Kurdistan. The region has long suffered from tragic wars, misery, and constant crises, while seeking to become an independent state and the repercussions from these events now begin to unfold within modern society. Many conflicts arise around questions of what a successful democratic way of living looks like and how it can be accomplished. I have intended to focus on two female protagonists to address the certain kind of pressure that young women experience in Kurdistan. The balance between marriage and motherhood on one side and education on the other is a constant battle and sacrifice for women, especially in this region. One of the main protagonists, the older sister Shilan, who is frustrated by her own situation, fights for a better life for her younger sister Rojin. Her strongly motivated actions bring her to experience empowerment herself, while facing her unlucky marriage and her lost dreams. The title The Exam is not only the physical university exam Rojin must pass in order to have a better life, but it is also a figurative reference to Shilan’s personal examination of her own life situation.

Shawkat Amin Korki [導演的話] official entry for the 88th Academy Awards.

《出貓大風暴》是一部充滿懸念的劇情片，講述兩位年輕女性在伊拉克庫爾德斯坦的日常。庫爾德地區長年飽受戰亂和持續的危機摧殘，依然在苦難中奮力爭取獨立；長年事件帶來的影響，此刻正在現實社會中逐漸顯露。人們為了理想的民主之路而衝突，各種紛爭因激辯而起。我希望透過片中兩位女主角來展示庫爾德斯坦年輕女性恆常遇到的困難──她們經常需要在婚姻育兒與接受教育之間掙扎，這個情況尤以此地區為甚。女主角之一的希蘭未能倖免於社會枷鎖，決心不讓妹妹羅珍重蹈覆轍，為其謀求真正的幸福，不惜作出有違道德的抉擇。這也令她在自己的不幸婚姻和不復再的理想之中重新站起來。故此片名除了指那一場即將改變羅珍人生的大學入學考試，也意指希蘭面對的人生試煉，以及片中角色各自面對的考驗。 Shawkat Amin KORKI was born in 1973, Korki and his family fled Iraqi Kurdistan to Iran, when he studied cinema and gained international recognition for his debut, Crossing the Dust (2006), which premiered at International Film Festival Rotterdam. In 2014, his film Memories on Stone was selected as Iraq’s

120 GLOBAL VISION 環球視野 Kurdistan/Germany/Qatar 庫爾德／德國／卡塔爾 2021 | Kurdish | DCP/Online | Colour | 91 min Director Shawkat Amin Korki Producer Mehmet Akta Scriptwriter Shawkat Amin Korki, Mohamed Reza Gohari Cinematographer Adib Sobhani Editor Ebrahim Saeedi Production Designer Jalal Saed Panah Music Mehmûd Berazî Sound a lar Ye ilay Cast Avan Jamal, Vania Salar, Hussein Hassan, Shwan Attoof, Hushyar Nerwayi Production mîtosfilm, Masti Film World Sales ArtHood Entertainment

蘇卡阿敏哥奇 1973 年生於庫爾德，到伊朗修讀電影，在當地流亡二十三年，曾投身劇場、電視及電影，後回到庫爾德。2006 年拍成長片首作《風塵滾滾》，於鹿特丹電影節首映。 14 年作品《石頭不會忘記》代表伊拉克角逐奧斯卡最佳外語片。 SELECTED FILMOGRAPHY 主要作品 2006 Crossing the Dust 風塵滾滾 2009 Kick Off 開波 2014 Memories on Stone 石頭不會忘記 2021 The Exam 出貓大風暴 ©Mitosfilm

這部電影始於六年前我一個非常簡單的想法，就是一個男人變成一隻雞的故事，而且有確鑿證據，既不是玩笑，也不是陰謀。透過這個寓言故事，我想捕捉一個普通埃及家庭過着艱苦生活的一些面貌。面對這種荒謬處境，這家人是想都沒想就做出反應。但他們實際上是被卡住了。正因為他們非英雄主角，無人關心他們及其問題。我感覺那種情況很熟悉，因此，從我想到拍這部電影的那一刻起，我就完全沉迷其中。我受到很多事物的啟發，我和埃及文化有深厚的連繫，尤其是埃及的電影和音樂遺產。啟發我創作這部電影的，包括導演尤昔夫沙軒、穆罕默德汗、凱里貝沙拉、尤斯理納斯拉那、烏薩馬法茲，還有羅拔布烈遜、郭利斯馬基和積葵大地。它就像詩歌一樣，我試圖透過它，令觀眾感受我們生活的本質。在執導這部電影時，我嘗試在角色和我們之間，架起一座橋，使我們能感同身受。我想盡可能真誠地對待他們和他們的恐懼，不給他們貼標籤或妄下評語。 Omar EL ZOHAIRY was born in 1988 in Cairo, Egypt. He studied film directing at the High Institute of Cinema in Cairo and worked as an assistant director on feature films of Egypt’s most prominent filmmakers, including Yousri Nasrallah. Feathers is his first feature film. 奧馬埃蘇海里 1988 年生於埃及開羅，畢業於開羅高等電影學院，曾為多位埃及名導的長片擔任助理導演。《魔法．老公．雞》是他的首部劇情長片。 FILMOGRAPHY 作品年表 2011 Breathe Out (short) 呼氣（短片） 2014 The Aftermath of the Inauguration of the Public Toilet at Kilometer 375 ( short ) 375 公里公廁啟用結果（短片） 2021 Feathers 魔法．老公．雞 ©Moe Awad

121 GLOBAL VISION 環球視野 Feathers 魔法．老公．雞 France/Egypt/The Netherlands/Greece 法國／埃及／荷蘭／希臘 2021 | Arabic | DCP/Online | Colour | 115 min Director Omar El Zohairy Producer Juliette Lepoutre Scriptwriter Ahmed Amer, Omar El Zohairy Cinematographer Kamal Samy Editor Hisham Saqr Production Designer Asem Ali Sound Ahmed Adnan Cast Demyana Nassar, Samy Bassiouny, Fady Mina Fawzy, Abo Sefen Nabil Wesa, Mohamed Abd El Hady Production Still Moving World Sales Heretic Outreach

Feathers started from a very simple idea I had six years ago. It is the story of a man who turns into a chicken and there’s serious evidence of it; it is neither a joke nor a conspiracy. Through this parable, I wanted to capture a part of the difficult life an ordinary Egyptian family leads. Having to face this absurd situation, the members of this family react without really thinking. But they’re actually stuck. Exactly because they are anti-heroes, nobody cares about them or their issues. I feel very close to that situation and therefore, from the moment the idea of making the film came to me, I became completely obsessed. I was inspired by many things and I have a deep connection with Egyptian culture, especially with its cinematic and musical heritage. Filmmakers, such as Youssef Chahine, Mohamed Khan, Khairy Beshara, Yousry Nasrallah, Oussama Fawzy, as well as Robert Bresson, Aki Kaurismaki and Jacques Tati inspired me for this film. It is built as a poem, through which I try to make the audience feel the essence of our lives. In directing the film, I tried to build a bridge between the characters and us, so that we can feel what they feel. I wanted to be as sincere with them and their fears as I could, without labelling or judging them. Omar El Zohairy [導演的話]

Khadar

As someone who spent his early years in war-torn Somalia and then Ethiopia, I couldn’t relate to all those stereotypical films (told from Western perspectives) that are supposed to represent me as an African on the big screen. I couldn’t understand them.

The Gravedigger’s Wife Guled & Nasra 掘墓者之妻 As a filmmaker, I simply wanted to share this story with the rest of the world because I’ve yet to see a love story from sub-Saharan or African continent that celebrates the simplicity of life, the beauty of love. Almost everything that comes from the African continent deals with such radical topics as piracy, (civil) war, immigration, human trafficking, refugees etc.

122 GLOBAL VISION 環球視野 Somalia/Finland/Germany/France 索馬里／芬蘭／德國／法國 2021 | Somali | DCP | Colour | 83 min Director Khadar Ayderus Ahmed Producer Misha Jaari, Mark Lwoff, Risto Nikkilä, Thanassis Karathanos, Martin Hampel, Stéphane Parthenay, Robin Boespflug-Vonier Scriptwriter Khadar Ayderus Ahmed Cinematographer Arttu Peltomaa Editor Sebastian Thümler Production Designer Antti Nikkinen Music Andre Matthias Sound Karri Niinivaara Cast Omar Abdi, Yasmin Warsame, Kadar Abdoul-Aziz Ibrahim Production Bufo, Twenty Twenty Vision, Pyramide Productions World Sales Orange Studio

Then I started questioning myself: What about those people who are neither pirates, immigrants, nor refugees? What about my uncles and aunties, who never dreamed of crossing the ocean to find better lives? What about those local people who dream about finding love, opening their own businesses, putting their children through the best school in the country, and traveling around Africa? Don’t they deserve to have their stories told?

[導演的話] 身為電影人，我只想與世界其他地方的人分享這故事，因為我還沒看過來自撒哈拉沙漠以南或非洲大陸的愛情故事，歌頌生活簡樸與愛情之美。我看過幾乎所有來自非洲大陸的故事，都關乎海盜、（內）戰、移民、販賣人口、難民等極端題材。我童年在飽受戰爭蹂躪的索馬里和埃塞俄比亞度過，仍無法理解那些在大銀幕（以西方角度講述的）代表着非洲人的刻板定型電影。然後我開始問自己：那些既非海盜、移民也不是難民的人呢？我的叔叔們呢？我那些從未想過穿洋過海尋找更好生活的阿姨們呢？那些夢想尋愛、創業、讓孩子進入本國最好學校，以及環遊非洲的本地人呢？難道他們的故事不該被講述嗎？本片關於吉布提市一個小家庭，跟着他們在不可能的條件下踏上情感旅程。這是一個簡單、強而有力的愛情故事，由每天在街上走過的那些不被看見和聽見的平凡人角度講述，就是那些貢獻社會，卻只因為他們一無所有或因為他們不「值得」被提及，而被忽視的人們。 Khadar Ayderus AHMED was born in 1981 in Mogadishu, Somalia. At the age of 16, he moved to Finland as a refugee with his family. The Gravedigger’s Wife is his first feature film. 卡達艾德魯斯阿密 1981 年生於索馬里。十六歲時隨家人以難民身份移居芬蘭。《掘墓者之妻》是他的首部劇情長片。 SELECTED FILMOGRAPHY 主要作品 2014 We Don’t Celebrate Christmas ( short ) 我們不慶祝聖誕（短片） 2017 The Night Thief (short ) 夜賊（短片） 2021 The Gravedigger’s Wife 掘墓者之妻 ©Bufo2021

The Gravedigger's Wife follows the emotional journey of a small family living under impossible conditions in Djibouti City. It is a simple, intense and powerful love story, told from the perspective of the “invisible” and “voiceless” people we walk past in the street every day. Those people whose devotion and contribution to society is overlooked simply because they have nothing or because they’re not “worth” it. Ayderus Ahmed

[…] Sugita wrote up the world unfolding from the strain of tanka into a film script. What he hoped to create was an induction of several answers to the tanka’s mystery and, at the same time, inherit the style of Higashi’s tankas themselves, which leave abundant margins for the recipient’s own interpretation in the film’s expression.

[...] Sugita depicted a new story of loss through the steps of protagonist, Sachi, a bereaved survivor who has lost her partner. The story resonates with the past works of Higashi which illustrated loss in various descriptions, including the original tanka. The production mainly consisted of guerrilla-style filming with a small crew, set in September 2020, and the work reflected the current situation as a result, of streets where everyone was wearing a mask.

[簡介] 這部電影源於導演杉田協士與女演員荒木知佳之間的約定。當導演上一部電影《聽光的歌》上映時，荒木知佳剛做完正顎手術，直接從醫院過來觀看影片，用口罩遮住浮腫的臉。導演被她的熱情所感動，當場提議她復元後一起拍片。半年後再見面，導演看着她講述自己背景和生活，想起了一首短歌。它是由著名短歌詩人東直子所寫：「凝視着遷居地不明的郵戳，春原先生吹起了牧童笛。」導演把短歌展開的世界寫成了電影劇本。他追求的創作，是從謎樣多義的短歌歸納出故事，同時繼承東直子短歌的風格，為觀眾解讀留下豐富餘地。導演透過主角沙知的腳步，描述了一個新的有關失落的故事，她失去了摯愛伴侶阿雪，儼如倖存者。這個故事也呼應東直子以往作品（包括上述那首短歌）所描寫的失落。製作以打游擊方式拍攝為主，由少數劇組人員組成，影片時間設定為 2020 年 9 月，作品反映了當時大家在街上都戴着口罩的情況。 SUGITA Kyoshi was born in Tokyo in 1977 and studied film at Rikkyo University. After graduation, he worked as an assistant director for films directed by Kurosawa Kiyoshi, Shinozaki Makoto, Aoyama Shinji and Suwa Nobuhiro. 杉田協士 1977 年生於東京，於立教大學修讀電影，畢業後曾擔任黑澤清、筱崎誠、青山真治和諏訪敦彥的副導演。 FILMOGRAPHY 作品年表 2011 A Song I Remember 記得的歌 2017 Listen to Light 聽光的歌 2021 Haruhara-san’s Recorder 春原的牧童笛

Watching Araki Chika talking about her background and life, Sugita Kyoshi remembered a string of tanka poetry. It was written by one of the leading tanka poets, Higashi Naoko: “Gazing upon / the address unknown stamp / The recorder / played by Haruhara-san.”

123 GLOBAL VISION 環球視野 Haruhara-san’s Recorder Haruharasan no uta 春原的牧童笛 Japan 日本 2021 | Japanese | DCP/Online | Colour | 121 min Director Sugita Kyoshi Producer Higeno Jun Scriptwriter Sugita Kyoshi Cinematographer Iioka Yukiko Editor Okawa Keiko Music SKANK Sound Hwang Youngchang Cast Araki Chika, Niibe Minako, Kaneko Takenori, Ito Saho Production Iha Films World Sales Tsukidate Nanako

Alexandru

Editor

Producer

Voodoo Films

Intregalde 失驚無神山旮旯 Lost in the forest, three humanitarians are put in a position to decide whether to save a senile old man, rather a human carcass, a man who seems programmed to self-destruct, like the penguin in Herzog’s documentary about Antarctica.

Production Multimedia Est World

Sound

Cinematographer Tudor

Cast

This is an isolated and wild place which feels like it’s at the edge of the world and time, serving as a metaphorical preview of an end, the meaning of which we are probably looking for, in vain. Radu Muntean [導演的話]

The screenplay uses a dramaturgical scheme derived from that of a fairy tale, integrating the illusion of an initiatory journey and the almost mythical appearance of the old man who tests the heroes, like St. Peter in folk tales. But nothing is truly mythical in Intregalde This St. Peter soils his pants and curses those who save him; the victory of the heroes is illusory and the result of it all leads to no epiphany for the characters.

迷失在森林的三名人道組織成員，需要決定是否去救那個糊塗老人，一個猶如活死人，似乎注定自毀的人，就像荷索那部南極紀錄片中的企鵝一樣。劇本採用源自童話的戲劇手法，糅合了啟蒙之旅的幻覺，以及如同神話般出現了考驗英雄的老人，就像民間故事中的聖彼得一樣。但在本片沒有什麼是神話的。這個聖彼得失禁弄髒了褲子，詛咒那些前來救他的人。英雄的勝利是虛幻的，這一切的結果並沒有令他們有所領悟。黑暗的森林、泥濘、破落的房子、廢棄的鋸木廠，以及沒有出路的山谷，這些風景在電影中幾乎就像角色一樣重要。這是偏遠蠻荒之境，感覺就像是在世界和時間的邊緣，是一窺終結的隱喻，若尋找其意義，終將徒勞無功。 Radu MUNTEAN was born in 1971 in Bucharest, Romania. He graduated from the film directing department of the Romanian Theatre and Film Academy, and has directed over 400 commercials. In 2002, he directed his feature film debut, Rage. By now he has directed and written seven features and a documentary. 雷杜蒙頓 1971 年生於羅馬尼亞布加勒斯特，畢業於羅馬尼亞戲劇及電影學院電影導演系。 96 年開始拍廣告，獲獎無數。2002 年執導首部長片《暴怒》。至今已完成七部劇情長片及一部紀錄片。 SELECTED FILMOGRAPHY 主要作品 2006 The Paper Will Be Blue 無主孤軍 2008 Boogie 海邊的波兒 2010 Tuesday, After Christmas 聖誕後的星期二 2015 One Floor Below 沉默公寓 2021 Intregalde 失驚無神山旮旯 © Tudor Panduru

Director Radu Muntean Dragos Vilcu Scriptwriter Radu Muntean, R zvan R dulescu, Baciu Vladimir Panduru Andu Radu Designer Anca Laz r Electric Brother, Julien Perez Maria Popista u, Ilona Brezoianu, Alex Bogdan, Luca Sabin Sales

124 GLOBAL VISION 環球視野 Romania 羅馬尼亞 2021 | Romanian | DCP | Colour | 104 min

The scenery, with its dark forests, mud, crooked houses, abandoned sawmill, and valleys, which lead to nothing is almost like a character in the film.

Production

Director Vincent Maël Cardona Producer Toufik Ayadi, Christophe Barral, Marc-Benoît Créancier Scriptwriter Vincent Maël Cardona, Chloë Larouchi, Maël Le Garrec, Rose Philippon, Catherine Paillé, Romain Compingt

The film presents the contrast between the energy of the rock that embodies the present, the youth, and the patina of the settings, especially the house where the two brothers and their father live, which represents the past, the frozen side of the province at the time. The film takes place where seemingly “nothing happens”. This is the meaning of the imaginary province depicted in the film: The province not as a physical territory, but as a mental one. It gives this feeling of being far from everything. This setting in the film is the timeless province of yesterday and today, the one of bistros, of puddles, of small secondary roads. It also exists in relation to a fantasised centre, the Berlin of that time, the centre of all possibilities, where the crazy energy of that time converged. This tension between the centre where “things happen” and the periphery where “nothing happens” is very precious because it refers to the great disease of our time: the feeling of never being quite in the right place. Art, especially music, bypasses this distance: one is far away and in the heart. And the greater the distance, the greater the intensity. Like my characters, I come from a small town where music and film have always been my way to feel connected to the world, but I can only imagine what it must have been like in a village in the early 1980s, to get your hands on a Joy Division bootleg, to be there in your room overlooking the fields in the silence of the night, listening to a concert given at The Factory a few weeks earlier. with Vincent Maël Cardona Maël

卡式青春法國／德國 2021 | French/English/German DCP | Colour | 100 min

France/Germany

125 GLOBAL VISION 環球視野

Cinematographer Brice Pancot Editor Flora Volpelière Production Designer Marion Burger Music David Sztanke Sound Mathieu Descamps, Pierre Bariaud, Samuel Aïchoun Cast Thimotée Robart, Marie Colomb, Joseph Olivennes Production Easy Tiger, Srab Films World Sales Indie Sales

Interview

CARDONA was born in Brittany, France, in 1980. He joined the directing department of La Fémis in 2006. During his studies he directed the short film Anywhere Out of the World, which won 2nd prize of the Cinéfondation at the 2010 Cannes Film Festival. Magnetic Beats is his first feature film. 雲遜梅爾卡當拿 1980 年生於法國布列塔尼。2006 年於法國國家視聽高等學院修讀導演系，並於 10 年憑畢業短片《只要去太空》贏得康城奠基短片競賽二等獎。《卡式青春》是他的首部長片。 FIMOGRAPHY 作品年表 2010 Anywhere Out of the World (short) 只要去太空（短片） 2021 Magnetic Beats 卡式青春

Magnetic Beats Les Magnétiques

[導演訪問] 本片將現在和過去作對比：強勁搖滾樂代表着現在和年輕人。他們身處的鄉郊，尤其是兩兄弟及父親居住的屋，就是代表過去，一個如被冰封着的不變鄉郊。劇情在一潭死水的地方展開，這個虛構的鄉郊，重點不是地理上的偏僻，而是精神上的偏僻，令人覺得自己離外面的事情很遠很遠。這鄉郊永恆不變，都是那些餐館、水窪、支路。與它相對的，就是年輕人心裏嚮往的柏林，一切可能發生的，都會在柏林發生，瘋狂能量全都聚焦在柏林，無窮精彩。「一潭死水」和「無窮精彩」的角力，其實反映了現代人的通病：坐這山望那山。藝術，尤其是音樂，能跨越這個距離。在千里之外的，也在自己心坎。距離愈遠，渴望愈強。我就如這些角色，生長在小鎮，透過音樂及電影和世界連結，不過我只能想像這些八十年代初的鄉村青年，於夜半時分，在自己對着田野的房間，聽着 Joy Division 幾星期前在曼徹斯特 The Factory 舉行的演唱會盜錄，會是多麼興奮。 Vincent

Director Elie Grappe Producer Tom Dercourt, Jean-Marc Fröhle Elie Grappe, Raphaëlle Desplechin

電影的女主角是如何設定的？我曾參與一些音樂學院的紀錄片拍攝工作，自己就讀於藝術學院並認識了一位年輕的烏克蘭小提琴家艾蓮娜，她從水深火熱的祖國移居瑞士。我被她的故事深深打動，並以此奠定了我首部電影的大綱。我想透過這部電影探討地域與親密界線之間的連繫。編寫劇本的過程中，我與社會學家、電影工作者和政界人士合作，他們都曾參與烏克蘭的示威運動，我認為他們的真實經歷能給予電影必要的複合性。為什麼選擇以體操這個運動範疇來講述你的故事？歐嘉是一名十五歲體操運動員，我希望透過她的經歷來探討年輕一代對理想的熱情，以及她們能去得多盡。體操是一項集合個體性和集體性的運動，能把歐嘉其他面向的人生充分投射出來。比起完美的肢體動作，我對於體操女孩們之間的交流、她們對運動的專注度以及對於失敗的反應更感興趣。運動員們在脆弱之間迸發出光芒，這對我而言是人性之所在。 Elie GRAPPE was born in Lyon in 1994. He graduated from the Film Division of ECAL in 2015. His documentary short Rehearsal (14) was selected for festivals including IDFA and Clermont-Ferrand International Short Film Festival. His first feature, Olga, won the SACD award in the parallel selection at Cannes Critics' Week. 埃利格拉普 1994 年生於法國里昂，2015 年畢業於洛桑藝術及設計高等教育學校電影系。短片作品《綵排》( 14 ) 入選多個電影節，包括阿姆斯特丹紀錄片電影節。首部長片《體操少女的落地瞬間》獲康城影評人周 SACD 獎。 SELECTED FILMOGRAPHY 主要作品 2014 Rehearsal ( short) 綵排（短片） 2015 Suspended ( short) 暫停（短片） 2021 Olga 體操少女的落地瞬間

Music Pierre Desprats Sound Jürg Lempen, François Musy, Rapha l Sohier, Simon Apostolou

Cast Anastasia Budiashkina, Sabrina Rubtsova, Caterina Barloggio, Thea Brogli Production Point Prod, Cinéma Defacto World Sales Pulsar Content

Scriptwriter

Olga 體操少女的落地瞬間

126 GLOBAL VISION 環球視野 Switzerland/France 瑞士／法國 2021 | French/Russian/Ukrainian DCP/ Online | Colour | 86 min

Cinematographer Lucie Baudinaud Suzana Pedro Production Designer Ivan Niclass, Pascal Baillods

How did you develop the main character? I started with the testimonial of Irina, the musician, but then I spoke to a lot of other people and learned about their points of view and experiences. I also involved some professionals in the writing process, such as a sociologist, for example, but also a Ukrainian filmmaker and a politician, who all participated in the Ukrainian revolution. It was important to have people who lived through that time to add their expertise to the project and to give it the desired complexity. Why did you actually choose the field of gymnastics to tell your story? It seemed to be a continuation of the research I’d already done with the academy of music, about the passion of young people and the extent of it. Gymnastics happens to be a sport that is at the same time very individual but also collective. It reflects what goes on with Olga. […] I was less interested in the perfect exercises but more in the looks the girls exchange, the concentration before they perform and what happens when they fall. I had the impression that in these moments, you were able to perceive their fragility, but also the lightness of the athletes. It is there that you feel the humanity of the people and there that the training gets really emotional. Interview with Elie Grappe Cineuropa [導演訪問]

Editor

Interview with Arthur Harari [導演訪問]

127 GLOBAL VISION 環球視野 Onoda – 10000 Nights in the Jungle Onoda, 10000 nuits dans la jungle 孤軍山林一萬夜 France/Japan/Germany/Belgium/Italy/Cambodia 法國／日本／德國／比利時／意大利／柬埔寨 2021 | Japanese | DCP | Colour | 167 min Director Arthur Harari Producer Nicolas Anthomé Scriptwriter Arthur Harari, Vincent Poymiro Cinematographer Tom Harari Editor Laurent Sénéchal Production Designer Brigitte Brassard Music Sebastiano De Gennaro, Enrico Gabrielli, Andrea Poggio, Sato Gak, Olivier Marguerit Sound Ivan Dumas, Andreas Hildebrandt, Alek «Bunic» Goosse Cast Endo Yuya, Tsuda Kanji, Matsuura Yuya Production bathysphere, To Be Continued World Sales Le Pacte

For several years, even before the shooting of Dark Inclusion, I had been thinking about making an adventure film. I was devouring Conrad and Stevenson and was intrigued by solo sailors and polar expeditions. Then one day, I was talking about it to my dad, and almost as a joke, he told me this incredible tale about a Japanese soldier who spent several years on an island. And that was my first introduction to Onoda. It’s a composite film, but what genre would you describe it as? A western? The western is the genre towards which all others converge quite easily, because it is the perfect cinematographic form of an epic tale. It condenses the primitive obsessions of Western literature and comes closest to myth, storytelling, and a certain purity. Every time I make a film, I return to the western. In terms of Kozuka’s death, the most obvious reference is Boorman’s Deliverance, which I see as an almost conceptual re-reading of the western and that genre’s place in the American subconscious. In the harpoon scene, the Japanese are the cowboys and the Filipinos are the Indians, but they would all have ended up looking physically similar to each other because they were stuck in the same territory.

本片是怎麼誕生的？多年來，甚至在我拍攝《黑鑽石》之前，就一直想拍一部歷險電影。我如饑似渴地閱讀康拉德和史蒂文森的作品，並對獨行水手和極地探險很感興趣。有天，我和我爸談起這事，他幾乎是開玩笑地說起了這個關於一名日本士兵在一個島上待了很多年的不可思議事跡。那是我首次知道小野田的故事。這是一部混合的電影，你會形容它是什麼類型？西部片？所有其他類型都很容易融會到西部片這個類型，因為它是最適合呈現史詩故事的電影形式。它濃縮了西方文學的原始執迷，而且最接近神話，最接近說書，最接近某種純淨。每次拍電影，我都會回到西部片。就小塚的死而言，最明顯參考了尊保曼的《激流四勇士》，我認為這幾乎是概念性重新解讀西部片及其在美國人潛意識裏的位置。在魚叉那場戲，日本人就是牛仔，菲律賓人就是印第安人，但他們最終看起來外貌相似，因為他們都被困在同一個地方。 Arthur HARARI was born in 1981 in Paris and has directed several short and mediumlength films that have been screened at numerous festivals. In 2016, his first film Dark Inclusion, was nominated for two César awards and won Best Male Newcomer for Niels Schneider. 阿圖雅哈里 1981 年生於法國巴黎，身兼導演、編劇及演員，2016 年執導首部長片《黑鑽石》，獲凱撒獎兩項提名，並贏得最佳男新人獎。 SELECTED FILMOGRAPHY 主要作品 2016 Dark Inclusion 黑鑽石 2021 Onoda – 10000 Nights in the Jungle 孤軍山林一萬夜 ©Tom Harari

How did Onoda come into being?

為什麼首作以童年為主題，以學校為背景？我選學校特別是操場，是因為這是社會縮影。我觀察了數個月，發現操場亦見山頭主義，每個人都想霸佔自己的領土。童年開始探索、描繪及建構自己的內心風景。學校生涯影響這道風景，往往決定我們長大後怎樣看世界。除了讀書識字，學校更讓我們探索人與人之間的關係。哥哥艾比被朋友欺凌而不懂保護自己。妹妹諾亞希望向父親道出不公義，但被艾比拒絕。這些牽涉誠信的衝突營造影片的緊張氣氛。正是。諾亞的父親要她告之發生在艾比身上的事，令諾亞更添矛盾壓力。此片是關於互相幫助。我們如何彼此扶持？有時你想幫人，但結果卻適得其反。非常複雜。我們處身步伐急速的社會，沒有時間處理問題根源。在校園，既有欺凌，亦有忽視、關懷不足及缺乏聆聽。暴力並非從天而降。它來自沒有被注意及聆聽的傷口，而不幸地它傳播迅速。對此，影片無意加以批判。影片從小孩的角度出發，是否一開始便作此決定？是，一開始已決定此拍法，讓觀眾代入諾亞的生活及感受，置身故事之中，把親身經歷亦投射入去。 Laura WANDEL was born in 1984 in Belgium, where she studied filmmaking at the IAD school. She has made a number of short films. Playground is her first feature. 羅拉雲迪 1984 年生於比利時，在比利時藝術傳播學院主修電影製作，曾拍攝多部短片，《兒童欺戲樂園》是其首部長片。 FILMOGRAPHY 作品年表 2007 Walls ( short) 牆（短片） 2010 O Négatif (short , co dir ) 陰性（短片，合導） 2014 Foreign Bodies (short ) 異物（短片） 2021 Playground 兒童欺戲樂園 ©Alice Kohl

128 GLOBAL VISION 環球視野 Belgium 比利時 2021 | French | DCP | Colour | 73 min Director Laura Wandel Producer Stéphane Lhoest Scriptwriter Laura Wandel Cinematographer Frédéric Noirhomme Editor Nicolas Rumpl Production Designer Philippe Bertin Sound Thomas Grimm-Landsberg Cast Maya Vanderbeque, Günter Duret, Karim Leklou, Laura Verlinden Production Dragons Films World Sales Indie Sales Playground Un Monde 兒童欺戲樂園 Abel is tormented by his friends and does not defend himself. Nora would like to denounce this injustice to their father but Abel refuses. These conflicts of loyalty create all the tension in the film. Exactly. And Nora’s father asks her to react and to keep him informed of how things are going for Abel, which adds even more conflicting pressure on Nora. This film is also about helping each other. How do we help each other? Sometimes you want to help, but the action you take may end up in the opposite direction. It is complicated. We live in a fast-paced society where there is no time to deal with the root causes of problems. In this schoolyard, there is harassment, but also ignorance, a lack of attention and listening. I have the impression that violence does not come from nowhere. It usually comes from a wound, from something that is not recognised and listened to, and unfortunately it is transmitted very quickly. There is a will throughout the film not to judge it.

Interview with Laura Wandel [導演訪問]

達倫讚奧米爾巴耶夫 1958 年生於哈薩克。 81 年大學數學系畢業後成為助導。 92 年拍攝首部長片《卡拉特》，獲羅迦諾電影節銀豹獎及國際影評人聯盟獎，標誌着哈薩克電影新浪潮的開始。 SELECTED FILMOGRAPHY 主要作品 1992 Kairat 卡拉特 1998 Killer 兇手 2001 The Road 道路 2012 Student 學生 2021 Poet 古來詩人皆寂寞

Darezhan Omirbaev [導演的話] 四年前，我應邀到瑞士羅迦諾市展出我攝影的相片，在那裏我感到被寂寞籠罩。我想這是不少藝術家都曾體驗處身脆弱與理想世界之間的矛盾衝突。我對十九世紀哈薩克詩人馬赫姆別特的生命及藝術深深着迷。他因反抗當權者而被壓迫，與家人隱居草原，但不久被發現後遭當眾斬首，頭顱獻給西哈薩克的可汗。我決定將個人經驗與馬赫姆別特的生命片段糅合。兩者屬於不同時代，但別無二致是寂寞、無法平凡過活及看不到藝術的未來。透過馬赫姆別特，我想呈現至為重要的，是予我們生存力量的創作靈感。影片說的正是這些脆弱的事物。飾演詩人及其妻兒的演員，同樣飾演馬赫姆別特及其家人。殺馬赫姆別特的兇手，也反映於貪婪商人身上，以加強兩個主角在生活、命運及內心世界間的深刻聯繫。現今，詩歌與文學正面臨新科技的威脅。人們愈來愈少閱讀，看屏幕的時間愈來愈多。不過我們相信真正的詩歌定會找到方法融合於人性本質中。儘管困難及疑慮重重，詩人總有力量追求他的藝術。詩人來到小鎮，於黃昏的一次邂逅，足以令他確信真正藝術的根源深植於民眾生活。馬赫姆別特詩歌的命運及記憶，證明詩歌歷久不衰，自有其法陪伴眾生。

Darezhan OMIRBAEV was born in 1958 in the village of Uyuk, Kazakhstan. After graduating in mathematics in 1981, he became an assistant director. In 1992, he directed his first feature film, Kairat, which was awarded the Silver Leopard and the FIPRESCI Prize at the Locarno Film Festival, marking the beginning of the Kazakh New Wave.

I decided to bring together this personal experience and some episodes of Makhambet’s life. They belong to different times but have in common the loneliness, the inability to live a mundane life and the difficulty to see a future for one’s art. Through Makhambet I also wanted to represent the most important thing, the one that gives us the strength to live, the creative impulse. Our film is about all those fragile things. The actors of the poet, his wife and child are the same playing the parts of Makhambet and his family. Makhambet’s murderer is also mirrored in the character of a predatory businessman, to accentuate the deep connections between the lives, destinies and inner worlds of my two main characters. Obviously, today, poetry and literature face a threat from new technologies… Despite difficulties and doubts, the poet finds the strength to pursue his art. During his author’s evening in a small town, a simple encounter reassures him that the roots of true art are deeply running through the lives of ordinary people. The fate of Makhambet’s poems and his memory also testify that poetry survives through the years and, sooner or later, can find its way to companion souls.

129 GLOBAL VISION 環球視野 Poet Akyn 古來詩人皆寂寞 Kazakhstan 哈薩克 2021 | Kazakh | DCP/Online | Colour | 105 min Director Darezhan Omirbaev Producer Yuliya Kim, Yerzhan Akhmetov Scriptwriter Darezhan Omirbayev Cinematographer Boris Troshev Editor Gulayim Kozhamberdieva Production Designer Alexandr Rorokin Sound Aleksandr Vlaznev Cast Yerdos Kanayev, Klara Kabylgazina, Gulmira Khasanova Production Kazakhfilm World Sales Yuliya Kim

Scriptwriter Colm

From a formal perspective, the telling itself was immediately compelling – a first-person, present tense narrative told through the eyes of a young girl. It felt utterly immersive and empathetic and innately visual – so much of it is what this girl is seeing and feeling moment to moment. The narrative tension of the story is completely derived from the girl’s experience, rather than from any overreliance on plot. That felt like an appealing challenge from a filmmaking perspective. The idea of shaping this girl’s experience and this being the overriding concern of the film, where the exploration of character and relationship dynamics was completely to the fore. But it was also the “smallness” of the story that I believed in. There’s a quote by Mark Cousins where he says that art shows us again and again that if we look closely and openly at a small thing, we can see a great deal in it.

The Quiet Girl An Cailín Ciúin 恬靜之夏

原著故事本身非常令人信服，它透過一個小女孩的眼睛，講述這個第一人稱、現在時態的故事。感覺完全像身歷其境，感同身受，本來就很有畫面，正是這個女孩每個時刻所看到和感受到的東西。敘事的張力完全源於她的經歷，而並非過度依賴情節。從電影製作的角度來看，這是個很吸引的挑戰。要塑造這個女孩的經歷，是這部電影的重點，對角色和人物關係發展的探索完全放在前面。但也是當中的「微小」令我認同這故事。麥克卡辛斯曾說：「藝術一再向我們展示，如果能敞開心胸仔細去看一件微小的事，就能看到其中的大道理。」我深受這樣的概念所吸引，在小的地方看到廣闊和深刻的東西，也是一種敘事的謙遜。然而最重要的，是這故事的情感底蘊，令我相信它有成為一部電影的潛力。它是那樣的克制，以及最終的宣洩，令我深深着迷。我相信改編成電影後，觀眾亦會有相同的感受。 Colm BAIRÉAD was born in 1981 in Dublin, Ireland, and was raised bilingually through both Irish and English. He already began making short films as a teenager and later studied film and broadcasting at the Dublin Institute of Technology. He has worked for the Irish-language broadcaster TG4. 哥林巴雷特 1981 年生於愛爾蘭都柏林，在愛爾蘭語及英語的雙語環境成長，青少年時期已開始拍攝短片。畢業於都柏林理工學院，主修電影及電視，並為愛爾蘭 TG4 電視台製作影片。 SELECTED FILMOGRAPHY 主要作品 2005 His Father’s Son ( short) 父親的兒子（短片） 2010 Luck (short) 運氣（短片） 2022 The Quiet Girl 恬靜之夏

Director Bairéad Chrualaoi Bairéad

I’m very much drawn to this notion, that something quite expansive and profound can be found in small places, in a kind of narrative humility. More than anything else, however, it was the emotional undertow of the story that convinced me of its potential as a film.

Producer Cleona Ní

Colm Bairéad [導演的話]

Cinematographer Kate McCullough Editor John Murphy Production Designer Emma Lowney Music Stephen Rennicks Sound Steve Fanagan Cast Catherine Clinch, Carrie Crowley, Andrew Bennett Production Inscéal World Sales Bankside Films

Colm

130 GLOBAL VISION 環球視野 Ireland 愛爾蘭 2022 | Irish/English | DCP/Online | Colour | 94 min

Production Arsenal Films, ForeFilms World Sales New Europe Film Sales

Valentyn Vasyanovych [導演的話] 此故事啟發自一隻白鴿。牠高速衝向窗戶，留下了既美麗亦可怕的痕跡。翅膀細緻的印記、頭頂受傷的血痕、黏在玻璃上的羽毛，我十歲的女兒都一一看見。其後數日，我們都受此事影響。她的憂慮、問題、盼望復活奇蹟、拒絕相信事情無法逆轉、嘗試從孩子角度了解死亡，促使我去寫一個探討父女關係的故事，他們正在哀悼所愛之人的離世。其中一個角色的死亡直接牽涉到烏克蘭東部持續的戰爭。透過將首都日常的舒適生活與戰爭的殘酷現實連結，我們為故事建構一個高密度的背景，探索小孩的恐懼與初次接觸死亡的體驗，以及大人的無能為力。故事透現孩子如何明白到生命有盡，以及成人對所愛的人、自己以至所屬的世界應負之責任。孩子與大人互相幫助，一起去了解這殘酷而美麗的世界，就像白鴿在玻璃上留下的烙印。 Valentyn VASYANOVYCH was born in Zhytomyr, Ukraine in 1971.

diplomas

Cinematographer

Theatre, Cinema and TV.

Film Directing

Production Designer

is working on both documentaries and fiction films. 華倫廷華斯恩諾維治 1971 年生於烏克蘭日托米爾，畢業於卡彭高加里國立戲劇、電影及電視大學，獲攝影師及紀錄片導演文憑。他亦曾於波蘭安德烈華意達電影研究學院進修。現從事紀錄片及劇情片創作。 SELECTED FILMOGRAPHY 主要作品 2012 Business as Usual 一切照常 2013 Credenza (docu ) 櫥櫃（紀錄片） 2017 Black Level 黑度 2019 Atlantis 荒蕪世紀詩篇 2021 Reflection 創傷的倒影

Director Valentyn Vasyanovych Producer Iya Myslytska, Valentyn Vasyanovych, Vladimir Yatsenko, Anna Sobolevska Scriptwriter Valentyn Vasyanovych Valentyn Vasyanovych Valentyn Vasyanovych Vladlen Odudenko Sound Serhiy Stepanskiy Cast Roman Lutskyi, Nika Myslytska, Nadiya Levchenko, Andrii Rymaruk, Ihor Shulha

131 GLOBAL VISION 環球視野 Reflection Vidblysk 創傷的倒影 Ukraine 烏克蘭 2021 | Ukrainian | DCP | Color | 127 min

The beginning of my work on this story was inspired by a pigeon. It crashed against our window, flying at a high speed. The pattern that was left was both beautiful and horrifying. The detailed imprint of the wings, the bloody trace from the impact of the head, feathers that stuck to the glass. My 10-year-old daughter saw it all. Over the next few days, we were affected by this event. Her worries, questions, expectations of miraculous resurrection, denial of the irreversibility of this event, and attempts to understand death from a child’s point of view prompted me to write a story about a fatherdaughter relationship in the midst of grieving over the death of a loved one. The death of one of the characters is directly connected to the war, which continues in the eastern part of Ukraine. By connecting the comfortable day-to-day life of the capital city with the deadly reality of the war, we can establish a high intensity background for a story about children’s fears and their first encounters with real death, and highlight the helplessness of adults. It is a translucent story about a child’s realisation that human life is finite. This is also a story about the responsibilities of adults to loved ones, to themselves, and the whole world in which they fulfil their potential. The child and the adult will help each other to understand this cruel and beautiful world, so similar to the imprint of the pigeon on the glass. He has as a cameraman documentary film director from the Karpenko-Kary National University of He studied at the Andrzej Wajda Master School of in Poland. He

also

and

Editor

132 GLOBAL VISION 環球視野 France/Lebanon/Belgium/USA/Qatar 法國／黎巴嫩／比利時／美國／卡塔爾 2021 | Arabic | DCP/Online | Colour | 117 min Director Ely Dagher Producer Arnaud Dommerc Scriptwriter Ely Dagher Cinematographer Shadi Chaaban Editor Léa Masson, Ely Dagher Production Designer Sabine Sabbagh Music Joh Dagher Sound Rawad Hobeika, Rana Eid Cast Manal Issa, Rabih El Zaher, Yara Abou Haidar, Roger Azar, Fadi Abi Samra Production Andolfi World Sales The Party Film Sales

short film Waves‘ 98

short film Palme d’Or

Cannes. The Sea Ahead is his first feature. 伊利達格 1985 年生於黎巴嫩貝魯特，獲倫敦大學金匠學院新媒體藝術碩士學位。《海浪 ’98 》 (2015) 獲康城影展最佳短片金棕櫚獎。《夢斷海邊之城》是其首部長片。 FILMOGRAPHY 作品年表 2007 Beirut (short ) 貝魯特（短片） 2015 Waves ’ 98 (short ) 海浪 ’98 （短片） 2021 The Sea Ahead 夢斷海邊之城 ©Yasmine Sarout

London.

The Sea Ahead is yet a major film about Lebanon in that it describes the mental state of the Lebanese, who’ve withstood the forces of history for several decades… I hope so. I really wanted the film to reflect the country, its inhabitants, and the textures of Beirut. I wasn’t trying to create empathy for the character through a supposed drama. It’s more a set of signs where everything contributes to pushing her into a particular state. So what’s equally important is the love story that reconnects her to her past, her relationship with her family, the city, its architecture, and ultimately the sea? Yes, those are the elements critical to the film’s gradual build up. The architecture tends to block the view of the sea, the horizon, and prospects more and more. The relationship with the sea is increasingly paradoxical in Beirut… I didn’t film a romanticised Beirut with what’s left of its traditional neighbourhoods. I really wanted to film modern-day Beirut and how we experience it. Everything in the picture is a symptom. The film was shot before the explosion that struck the city on August 4th and threw the Lebanese into a dangerous abyss. But through Jana’s character, which I started writing in 2015, we clearly see that we’d already been in this state for years. Interview with Ely Dagher [導演訪問] in His (2015) was the at

這是一部關於黎巴嫩的主要電影，描繪出數十年來抵抗歷史洪流的黎巴嫩人之精神狀態…… 但願如此。我很想影片能反映國家、人民及貝魯特的質感。我並非試圖透過戲劇為角色博取同情，這不止是一套符號，一切並非只為把她推向某種狀態。當中的愛情故事同樣重要，把她連繫到過去、與家人的關係、城市、建築以至海洋。對，這些元素對影片的發展尤為重要。建築物阻擋了海洋景觀、地平線及前景等等。在貝魯特，人與海洋的關係愈來愈矛盾……我不想以剩餘的傳統鄰里人情去拍一個浪漫化的貝魯特，我真正想拍的是今時今日的貝魯特，以及我們的經驗。我希望帶觀眾去另一個層面，代入恩娜的感受去看一切。配樂起了重要作用。我幼弟祖達格為影片配樂，他與恩娜的經歷相似，親身感受過疏離的滋味。我也感受過與自己的城市疏離，這種感覺在影片無處不在。影片中的一切都是症狀。影片攝於 2020 年 8 月 4 日貝魯特海港大爆炸前，事件將黎巴嫩推進危險深淵。我在 2015 年寫劇本時，透過恩娜的角色，已清楚看到我們在這混沌狀態已多年了。 Ely DAGHER was born in 1985 in Beirut, Lebanon. He graduated with an MA in contemporary Art Studies and New Media from Goldsmiths College

awarded

The Sea Ahead Al Bahr Amamakoum 夢斷海邊之城

133 GLOBAL VISION 環球視野 Sughra’s Sons Su ra v o ulları 暴雪無聲 Azerbaijan/Germany/France 阿塞拜疆／德國／法國 2020 | Azerbaijani | DCP | B&W | 85 min Director Ilgar Najaf Producer Ilgar Najaf, Ayhan Salar, Orman Aliyev Scriptwriter Asif Rustamov, Roelof Jan Minneboo, Ilgar Najaf Cinematographer Ayhan Salar Editor Rza Asgerov Production Designer Rovshan Mehdiyev Music Firudin Allahverdi Sound Tariyel Hasanzade Cast Gunash Mehdizade, Humbat Ahmadzade, Ilgar Jahangir, Pasha Mammadli Production Buta Film, Baku Media Center, Salarfilm, Arizona Productions World Sales Guillaume De Seille

The setting is World War II. This film is not about general or soldier. It’s about an ordinary woman Sughra. All the events in the film are my relatives’ or neighbours’ stories. That’s why, as a director, it has a great importance for me. Sughra lives in a mountain village with her two sons. Her husband is in a war and there is no news from him. When her elder son is called to war, she is scared of losing him, as she has lost her husband. She is faced with a difficult choice. So she sends her son into the mountains, where the men who are against this regime are hiding. The local government representative knows it and tries to make use of it. Sughra is facing war’s and imperialism’s heavy threats. The regime sends its soldiers to the village. In order to protect her younger son, she sees her elder son’s corpse and pretends that she doesn’t know him. Otherwise she and her younger son would be expelled. Najaf

[導演的話] 故事發生於第二次世界大戰期間。本片並非關於將領或士兵。這是關於一個普通的女人。片中所有事件都是我親戚或家人的故事。因此身為導演，本片對我意義重大。女主角和她兩個兒子住在一個山村裏。她丈夫去了打仗，音訊全無。當她的大兒子被徵召入伍，她非常害怕在戰爭中失去兒子，就像她失去丈夫一樣。她面對艱難抉擇。因此她把兒子送到山上，反對這個政權的人就躲藏在那裏。巴拉特政府的村代表知道此事，並從中漁利。女主角面臨戰爭和擴張主義的雙重威脅。政權派兵入村，她為了保護小兒子，即使看到大兒子的屍首，亦要裝作不認識，否則她和小兒子都將被驅逐。 Ilgar NAJAF was born in 1975 in Ararat region of Armenian Republic (USSR). He was forcibly expelled from Armenia in 1988 following the ethnic conflict, and has lived as a refugee ever since. He graduated from Azerbaijan State University of Arts in 1997 and established Buta Film Studios in 2004. 伊爾加納札夫 1975 年生於亞美尼亞， 88 年因種族衝突被驅逐出境，此後一直以難民身份生活。 97 年畢業於阿塞拜疆國立藝術大學，並於 2004 年成立布塔電影工作室。 SELECTED FILMOGRAPHY 主要作品 2011 Buta 布塔 2017 Pomegranate Orchard 石榴園 2021 Sughra’s Sons 暴雪無聲

Ilgar

Scriptwriter

Director Kira Kovalenko Alexander Rodnyansky, Sergey Melkumov Kira Kovalenko, Anton Yarush Pavel Fomintsev Mukharam Kabulova Designer Sergey Zaikov Rostislav Alimov Milana Aguzarova, Alik Karaev, Soslan Khugaev, Khetag Bibilov, Arsen Khetagurov, Milana Pagieva

Sound

窒愛家鎖 The small mining town of Mizur lies high in the mountains of North Ossetia between steep cliffs. Zaur has settled his family here. He keeps his sons and daughter on a short leash, blind to the line that separates fatherly concern from overprotectiveness... But just what is this father trying to protect his daughter from?

Interview with Kira Kovalenko [導演訪問]

134 GLOBAL VISION 環球視野 Russia 俄羅斯 2021 | Ossetian/Russian | DCP | Colour | 97 min

Production

Producer

Production Non-Stop Production, AR Content World Sales Wild Bunch

Cast

Unclenching the Fists Razzhimaya Kulaki

Cinematographer

The initial inspiration for the story came from a line in Faulkner’s Intruder in the Dust about how, while some people can endure slavery, nobody can stand freedom. The idea of freedom as a burden was the single most important theme for me while I was working on the film. Inevitably, the same idea led me to reflect on the burden of memory, and on the link between the two. Is it possible to endure freedom from memory? I turned to my own burden of memory, which included an event that was transformative and traumatic for me and many other people as well. The result was a tale of people who lived through this event, and who, many years later, are trying to come to terms with the trauma it caused. The world around them is still scarred by it, and they’re broken themselves, in a way that dictates all of this family’s relationships with each other. The attempt to forget and to preserve entails an act of violence against human will, which, paradoxically enough, is also an act of love.

Editor

礦業小鎮米祖爾位於北奧塞梯山區，地處陡峭懸崖之間。紹爾一家定居於此，他將兒女緊緊約束，對父愛關懷與過份保護的界線視而不見……但這父親究竟要保護女兒免受什麼？影片啟發自是威廉福克納小說《墳墓的闖入者》的其中一句，關於有人能忍受奴役，但無人能受得了自由。我拍此片時，最重要的一個主題是自由作為一種負累。無可避免地，同一意念亦令我反思記憶的負累，以及兩者的聯繫。是否可以忍受記憶的自由？我尋溯自己記憶的負累，包括一件於我和不少人而言是翻天覆地及傷痕纍纍的事件。結果是從這事件中生還過來的人的故事，而他們多年後仍努力嘗試接受事件引致的創傷。周遭世界滿是傷痕，他們自己亦支離破碎，直接影響並支配了家庭成員彼此之間的關係。試圖去忘記、去保留，意味着違背人意願的粗暴行為，而諷刺地，這亦是愛的方式。女主角艾達活於父、弟、兄與喜歡她的少年四個男人之間，但她不認為結婚是可行出路。在高加索地區，即使結了婚，也只是由一個封閉系統轉到另一個而已。對女性而言，那是橫向，不是向上移動。在社交媒體你可看到不少高加索女性的故事，這是需要關注的問題。 Kira KOVALENKO was born in Nalchik, Kabardino-Balkarian Republic, Russia. She graduated from Alexander Sokurov’s directing workshop at Kabardino-Balkarian State University in 2015. She made her directorial debut in 2016 with Sofichka 琪拉科瓦連科生於俄羅斯卡巴爾達-巴爾卡爾共和國首府納爾奇克。 2015 年畢業於卡巴爾達-巴爾卡爾國立大學的蘇古諾夫導演工作坊。 16 年執導首作《索菲卡》。 FILMOGRAPHY 作品年表 2016 Sofichka 索菲卡 2021 Unclenching the Fists 窒愛家鎖

watchmaker family,

西力舒布林

World Sales Alpha Violet

我祖母負責裝嵌錶芯，即所謂平衡擺輪，就像我家族的許多其他曾在十九及二十世紀瑞士鐘錶廠工作過的女性一樣。我希望在電影裏以某種方式呈現她們的工藝以及她們在工廠度過的時光。同時重提十九世紀鐘錶工匠的無政府主義運動歷史，他們對於社會的組成、如何合作生產、如何互助的想法，都值得重新審視。瑞士西北部的聖伊米爾製錶重鎮，逐漸成為十九世紀下半葉的國際無政府主義運動政治中心，影片重構了 1870 年代的歷史事件，並講述了錶芯裝嵌工匠約瑟芬與俄國旅行家兼地圖繪製師彼得的相遇。彼得的角色原型是真實存在的彼得克魯泡特金，其著作《革命者回憶錄》談及他在瑞士生活並成為無政府主義者的時光，此書成了這部電影的重要參考。約瑟芬和彼得的相遇，是在新技術（諸如計時、攝影及電報）正在改變社會秩序，無政府主義論述開始與當時新興的民族主義競爭的時代。透過重演舊事，我想邀請觀眾重新思考我們所活的當下是如何構建的。

Unrest Unrueh 精準的騷動 93

min

Production

年生於蘇黎世一個製錶工匠家庭，瑞士長大， 2004 至 06 年間於北京中央戲劇學院修讀中文及電影。 12 年畢業於柏林的德國電影電視學院，主修電影導演。 SELECTED FILMOGRAPHY 主要作品 2009 Lenny (short ) 連尼（短片） 2017 Those Who Are Fine 他們說我很好 2022 Unrest 精準的騷動 ©Seeland Filmproduktion

Production

Switzerland 瑞士 2022 | Swiss German/French/Russian DCP | Colour |

Cyril Schäublin [導演的話] Cyril SCHÄUBLIN was born in 1984 in Zurich. A descendant of a he grew up in Switzerland. Between 2004 and 2006, he lived in China where he studied Chinese language and cinema at The Central Academy of Drama in Beijing. He went on to study film directing at the German Film and Television Academy Berlin (DFFB) where he graduated in 2012. 1984

Director Cyril Schäublin Producer Linda Vogel, Michela Pini Cyril Schäublin

My grandmother produced the mechanical heart of the watch, the so-called “Unrueh” (unrest) or balance wheel, as did many other women in my family who worked in a Swiss watch factory in the 19th and the 20th century. I wished to somehow bring their work and the time they spent in the factories into a film. Based on the historical events which made the watchmaking valley of Saint-Imier in north-western Switzerland the political epicentre of the growing international anarchist movement in the second half of the 19th century, the film reconstructs events of the 1870s. The film also tells of an encounter between Josephine Gräbli, a factory worker producing the unrest wheel, and Pyotr Kropotkin, a Russian traveller and cartographer. The character of Pyotr is inspired by Pyotr Kropotkin (1842–1921). His book Memoirs of a Revolutionist, which discusses his time spent in Switzerland where he became an anarchist, constituted an essential source for writing the film. The encounter between Josephine and Pyotr unfolds in an era when new technologies, such as time measurement, photography and the telegraph, were transforming the social order and anarchist narratives started competing with an emerging nationalism. By re-enacting certain situations of the past, I would like to invite audiences to reconsider the construction of the present that we inhabit together.

Music Li Tavor Sound

135 GLOBAL VISION 環球視野

Scriptwriter

Cinematographer Silvan Hillmann Editor Cyril Schäublin Designer Sara B. Weingart Miguel Cabral Moraes, Roland Widmer Cast Clara Gostynski, Alexei Evstratov, Monika Stalder, Hélio Thiémard Seeland Filmproduktion

Cast

Scriptwriter Doruntina Basha

In telling Vera’s story, I was interested in challenging the traditional hero narrative, because this character arc often does not fit the experience of women and other marginalized people.

Kaltrina Krasniqi [導演的話] member of Kosovo Oral History Initiative. In 2015 she continued her professional development in the University of California, Los Angeles with a focus in Film Producing. Vera Dreams of the Sea is her first feature film.

Cinematographer Sevdije Kastrati Editor Vladimir Pavlovski, Kaltrina Krasniqi Designer Burim Arifi, Blendina Xhema Music Petrit Çeku, Genc Salihu Sound Igor Popovski, Darko Spasovski Teuta Jegeni Ajdini, Alketa Sylaj, Refet Abazi, Astrit Kabashi Isstra Creative Factory, Vera Films Sales Heretic Outreach

Vera’s fate unveils a merciless post-war society entangled in corruption, where women can only be collateral damage of yet another highway in the making. I see myself as an intimate, curious observer of Vera’s life, silently absorbing the internal drama of her day to day existence. She is in every shot, her actions shape a reality which in many ways is authentic and lacked, until now, visibility. The slowness of her aged body being forced to react is a storytelling vehicle, one which sets the pace and the emotional tone of the film, her internal and external desires, expressions and expectations.

World

Vera Dreams of the Sea Vera Andrron Detin 夢海深秋

Production

Vera, my mother, was in her mid-thirties when she decided to divorce my father. Raised in socialist Yugoslavia, she believed in the judicial system and fought for several years in the courts to ensure our share of the inheritance. The lengthy procedures, endless appeals, and high court costs defeated her.

In 2014, writer Doruntina Basha introduced me to her script Vera Dreams of the Sea. I was immediately drawn to her Vera; the main reason being her age and the social fabric of her life experience, which offered a nuanced and all-encompassing context of Kosovo.

Production

136 GLOBAL VISION 環球視野 Kosovo/North Macedonia/Albania 科索沃／北馬其頓／阿爾巴尼亞 2021 | Albanian | DCP/Online | Colour | 87 min

Director Kaltrina Krasniqi Producer Shkumbin Istrefi

卡特琳娜克卡斯妮琪是居於科索沃的電影導演及研究者，2000 年初開始從事電影、電視及數碼人文科學工作。她是科索沃口述歷史計劃的創辦人之一。 15 年她在加州大學洛杉磯分校進修電影製作。《夢海深秋》是其首部長片。 SELECTED FILMOGRAPHY 主要作品 2018 Sarabande ( short) 舞曲（短片） 2021 Vera Dreams of the Sea 夢海深秋

我母親薇拉三十多歲時決定離婚。在社會主義下的南斯拉夫成長，她相信司法制度，多年來在法庭爭取我們應得的遺產。冗長的程序、無盡的上訴，她終被上訴庭判處敗訴。描寫薇拉的故事，我想挑戰傳統的英雄敘事模式，因為這種角色發展並不適用於女性及邊緣人物的經歷。同時，我刻意避免落入被壓迫女性毫不反抗的陳套。 2014 年編劇杜倫天娜芭莎給我看《夢海深秋》的劇本，我被薇拉的角色深深吸引，主要是她的年紀及人生經驗交織的社會脈絡，透現細緻而全面的科索沃景況。薇拉的命運展示了一個冷酷無情的戰後社會，腐敗成風，在高速公路的興建計劃中，女性只能成為犧牲品。我有如一個親密而好奇的旁觀者，觀察她的生活，靜靜領略她每日的內心掙扎。她出現於每格畫面，一舉一動是那麼真實而往往不為人見。她緩慢的年邁身體被迫作出反應，成為敘事的載體，她內外的慾念、態度及期望，設定影片的節奏及情緒基調。我的主角薇拉令我感動，因為她那一代的女性甚少在電影或文學作品出現，而對於她們往往甚多偏見及刻板印象。不過正如作家查蒂史密斯所言：「第一代做了第二代不想做的事，讓第三代可以自由地做自己想做的事。」 Kaltrina KRASNIQI is a Kosovo-based film director and researcher working in film, television and digital humanities since early 2000. She is a founding

137 GLOBAL VISION 環球視野 What Do We See When We Look at the Sky? Was sehen wir, wenn wir zum Himmel schauen? 偶然仰望天空，你有什麼想像？ Germany/Georgia 德國／格魯吉亞 2021 | Georgian | DCP | Color | 151 min Director Aleksandre Koberidze Producer Mariam Shatberashvili Scriptwriter Aleksandre Koberidze Cinematographer Faraz Fesharaki Editor Aleksandre Koberidze Production Designer Maka Jebirashvili Music Giorgi Koberidze Sound Giorgi Koberidze Cast Giorgi Bochorishvili, Ani Karseladze, Oliko Barbakadze, Vakhtang Panchulidze, Giorgi Ambroladze Production German Film- and Television Academy Berlin World Sales Cercamon

影片建立了一個愛情故事，卻保持懸疑，不知有情人是否終成眷屬。你如何構思出愛情詛咒和錯失機緣的意念？年幼時我手上常戴着一顆黑碳石，保護我免受魔眼傷害。現今幾乎無人會這樣做，但我想知為什麼。是魔眼已不存在，抑或只是無人再相信？當然，我的故事不單是關於魔眼，亦關於好與壞的力量，這些力量像已被排除於物質世界之外，但時不時又會出現。我對這些莫名其妙的現象及其在日常生活出現的處境很感興趣。兩個人一見鍾情正是這種莫名其妙的現象。紅線是如何將兩人連繫？紅線斷了又為何如此痛苦？無人知道。影片中的蛻變不是寓言或隱喻，而是確實在眼前發生的事，其他的是詮釋而已。拍戲在影片中佔了重要一環。你如何看電影與現實的關係，及其對觀眾生活的影響？數年前我在芬蘭度除夕，有種奇怪感覺，不確定眼前所見是否真實，而郭利斯馬基鏡頭下所有事物一如現在或一如以往，只因他按自己的方式呈現。電影對我們如何看事物有巨大影響力，其形成的行為模式甚至成為我們日常生活方式的一部分。我相信今時今日接吻的方式是來自電影，我們大可對此作觀察研究。知道誰為生活獻上最美麗時刻，不是很有趣嗎？ Alexandre KOBERIDZE studied microeconomy and film production in Tiflis, Georgia before moving to Berlin to study directing at the German Film and Television Academy Berlin (DFFB). During this time, he directed several successful short films, starting with Colophon (2015). His first feature Let the Summer Never Come Again (17) won multiple awards at many festivals worldwide. 亞歷山大科貝里澤在格魯吉亞第比利斯修畢微觀經濟學及電影製作後，轉到德國，在柏林電影及電視學院進修導演課程。在學期間拍出首部短片《扉頁》(2015 )，其後陸續拍了多部短片， 17 年拍成首部長片《夏天別再來》。 SELECTED FILMOGRAPHY 主要作品 2015 Colophon (short ) 扉頁（短片） 2017 Let the Summer Never Come Again 夏天別再來 2018 Linger on Some Pale Blue Dot (short) 縈迴暗淡藍點（短片） 2021 What Do We See When We Look at the Sky? 偶然仰望天空，你有什麼想像？

Your film sets up a love story and then keeps up the suspense of whether it will ever come to pass. How did you come up with the idea of a curse and of missed connections? When I was a child, I often had to wear a jet stone, usually on my hand, to protect me from the evil eye. Today, almost nobody is doing this anymore, but I would like to know why. Doesn’t the evil eye exist anymore or is it simply that nobody believes in it? Of course, my story is not only about the evil eye but also generally about forces, good and bad, that seem to have been locked out of our materialist world but now and then still show themselves. I am interested in the respect for the inexplicable and the place such phenomena have in everyday life. The attraction of two people to one another is such an inexplicable thing. How is the thread strung that ties two people together, and why is it so painful when this thread breaks? Nobody really knows. The metamorphosis in the film to me is not so much an allegory or a metaphor, but something that happens in front of our eyes. Everything else is a matter of interpretation. Interview with Alexandre Koberidze [導演訪問]

詳情 Details http://online.hkiff.com.hk/ HKIFF46 ONLINE 內容僅限香港地區於第46屆香港國際電影節期間觀看。 All HKIFF46 ONLINE content is available for viewing only in Hong Kong during the HKIFF46 period. 16/8 二 TUE 夢海深秋 Vera Dreams of the Sea 國際短片競賽節目（一） Short Film ProgrammeCompetitionI 17/8 三 WED 出貓大風暴 The Exam 國際短片競賽節目（二） Short Film ProgrammeCompetitionII 18/8 四 THU 夢斷海邊之城 The Sea Ahead 國際短片競賽節目（三） Short Film ProgrammeCompetitionIII 19/8 五 FRI 黑煞星大導 Django & Django 古來詩人皆寂寞 Poet 20/8 六 SAT 春原的牧童笛 Haruhara-san's Recorder 動地驚天革命過 Mr Landsbergis 躁愛 The Restless 21/8 日 SUN 心湖浮影 Afterwater 報告 The Report 阿巴斯陪你睇《報告》 A Conversation on The Report 22/8 MON 布紐爾的超現實魅力 Buñuel: A FilmmakerSurrealist 一任無知到天明 A Night of Knowing Nothing 無藥可究 The Other Tom 23/8 二 TUE 孤獨熱線 Aloners 火山之戀 Fire of Love 大軟禁 House Arrest 24/8 三 WED 前衛短片專輯 Avant Garde Shorts Programme 情尋褒曼小島 Bergman Island 似是戲緣人 Come with Me to the Cinema – The Gregors 25/8 四 THU 迷城煉魂記 The Great Movement 新世紀電影史話 The Story of Film: A New Generation 無雨問蒼天 Utama 26/8 五 FRI 霧之雛 Children of the Mist 姬絲寶寫珍集 Jane by Charlotte 頓巴斯戰火孕記 Klondike 27/8 六 SAT 迷雲記 The Cloud & the Man 主僕的距離 The Employer and the Employee 下一站，紅場 Where Are We Headed? 28/8 日 SUN 撕裂巴黎 The Divide 魔法．老公．雞 Feathers 坦圖拉屠殺謊言 Tantura 29/8 MON 兩個告別皮蘭德婁的角色 Leonora Addio 世界動畫精選 World Animation 30/8 二 TUE 體操少女的落地瞬間 Olga 亞馬遜雨林保衛戰 The Territory 31/8 三 WED 恬靜之夏 The Quiet Girl 紫色女孩的婚事 Yuni HKIFF46 ONLINE

WORLD CINEMA 世界電影 The Passion of Latin American Cinema 拉美風情

Cinematographer Sergio Armstrong G.

Production Teorema, SK Global Entertainment World Sales

The Box, which revolves around a young boy in Mexico City longing for a father figure, a desperate search with deadly consequences, could be the prototype for how a dictator such as Vladimir Putin rises to power. We are always trapped in our obsessions. I had a very good relationship with my father, a very close and warm and good relationship. But I connected with that archetype of the father figure in Latin America, and that could be the father figure also in Russia right now. A lot of people are asking themselves, “How did this happen?” But it’s the same in Latin America with [Juan] Perón and [Hugo] Chavez and the other dictators we’ve had. So where is this [evil] coming from? That’s one of the reasons I was so interested in talking about that with this film. [...] It’s impossible not to get affected by things happening in the country. It’s not just happening in Mexico, but across the whole Latin America – you have so many kids growing up alone, without their father. That’s the main theme of the film. But, it’s also about the disappearance of women in the north of Mexico, which is terrible. It’s something like 100,000 women have disappeared, for unknown reasons. Women working for these big factories in Mexico. And I got very interested in that story. Lorenzo Vigas [導演的話]

Producer Lorenzo Vigas, Michel Franco, Jorge Hernandez Aldana Scriptwriter Lorenzo Vigas, Paula Markovitch

Production Designer Daniela Schneider Sound Waldir Xavier Cast Hernán Mendoza, Hatzín Navarrete, Elián González, Cristina Zulueta, Dulce Alexa Alfaro, Graciela Beltrán

Spanish

羅倫祖維加斯 1967 年生於委內瑞拉梅里達，父親是著名畫家奧華多維加斯。大學主修生物學，後到紐約大學修讀電影， 98 年回國執導《探險》紀錄片系列， 99 至 2001 年同時拍廣告片與紀錄片。15 年首拍長片《天地禁戀》，即奪得威尼斯影展金獅獎。16 年紀錄片《賣蘭花的人》以父親為主角，入選威尼斯影展。 SELECTED FILMOGRAPHY 主要作品 2004 Elephants Never Forget (short ) 大象不會忘記（短片） 2015 From Afar 天地禁戀 2016 The Orchid Seller (docu) 賣蘭花的人（紀錄片） 2021 The Box 骨肉無償

Mexico/USA 墨西哥／美國 2021

min

140 THE PASSION OF LATIN AMERICAN CINEMA 拉美風情

DCP | Colour

Editor Isabela Monteiro de Castro, Pablo Barbieri

Director Lorenzo Vigas

The Box La Caja 骨肉無償 | | | 92

影片主角是個渴望找到父親替代品的墨西哥城男孩，他執迷的尋覓，直至搞出人命，其實也能解釋到普京這種獨裁者何以得到權力。人一執着起來便會鑽牛角尖。我和父親的關係很融洽，父慈子孝，但我很能理解拉丁美洲那種典型父親，那可能也是現今俄羅斯的典型父親。很多人不明白事情怎會變成這樣，但拉美一直都有像貝隆或查韋斯這種獨裁者。問題是，這種邪惡是怎樣來的？所以我這麼想在本片談這個主題。實在無法對墨西哥的事情視若無睹，其實這是整個拉美的共同現象，有很多小孩沒有父親，自己長大，這就是《骨肉無償》的主題。此外，我也想探討墨西哥北部有大量女性失蹤的現象，實在太離譜，多達十萬個女性無緣無故失蹤了，是在墨西哥的大工廠工作的，我對這故事很感興趣。

Lorenzo VIGAS was born in Mérida, Venezuela, in 1967. He studied Molecular Biology before moving to New York in 1995. He made documentaries and commercials before directing his debut feature From Afar (2015), which won the Golden Lion for Best Film at Venice. His documentary about his father, the renowned Latin American painter Oswaldo Vigas, The Orchid Seller (16) was in Official Section at Venice.

The Match Factory

好戰之人 2021 The

Pound 野狗收容所 2013 The

The Employer and the Employee El Empleado Y El Patrón) 主僕的距離 In Uruguay, some ten years ago, shortly after the economic crisis that shook the region in 2002, many rural producers, mostly in the livestock sector, found themselves forced to liquidate their farms and sell their lands at bargain prices. Land ownership became even more concentrated and new capitals brought with them new ways of exploiting the land. Rural labour left the countryside for towns and cities from which they were transported to work the harvest on a seasonal basis. Few stayed on to live in the country as they had before and many of those who did manage to resist this change became isolated. Largely forgotten, they grasped onto rural traditions as if they were sacred, defending a lifestyle that entailed constant contact with nature; where the horse was key not only as work animal or means of transport, but also as revered symbol of freedom and independence for the sake of which they were willing to lead simple or outright arduous lives. This story encompasses the two worlds described above, the two young men – the leading characters – are mirrors of each other. They may feel close to one another though, in fact, they are not; a sordid alliance grows between them based on one’s guilt and the other’s ambition.

主僕的距離

Manuel Nieto ZAS was born in Montevideo, Uruguay in 1972, Zas’ debut feature The Dog Pound (2006) won Tiger Award at International Film Festival Rotterdam. The Militant (13), his second feature premiered at the Toronto International Film Festival and won the FIPRESCI Prize at the Havana Film Festival. His third feature, The Employer and the Employee premiered at Cannes Directors’ Dog Militant Employer and the Employee

Fortnight. 曼紐尼圖扎 1972 年生於烏拉圭蒙特維多。2006 年導演首作《野狗收容所》贏得鹿特丹電影節老虎大獎。次作《好戰之人》(13 ) 於多倫多電影節首映，並於夏灣拿電影節贏得國際影評人聯盟獎。《主僕的距離》是他的第三部長片，於康城電影節導演雙周首映。 FILMOGRAPHY 作品年表 2006 The

141 THE PASSION OF LATIN AMERICAN CINEMA 拉美風情 Uruguay/Argentina/Brazil/France 烏拉圭／阿根廷／巴西／法國 2021 | DCP/OnlineSpanish/Portuguese/French | Colour | 107 min Director Manolo Nieto Zas Producer Manuel Nieto, Bárbara Francisco, Georgina Baisch, Cecilia Salim, Paola Wink, Michael Wahrmann, Julia Alves, Nathalie Trafford Scriptwriter Manolo Nieto Zas Cinematographer Arauco Hernández Holz Editor Pablo Riera Production Designer Alejandro Castiglioni, Nicole Davrieux Music Holocausto Vegetal, Buenos Muchachos Sound Catriel Vildosola Cast Nahuel Pérez Biscayart, Cristian Borges, Justina Bustos, Fátima Quintanilla, Jean Pierre Noher Production Roken Films, Pasto, Murillo Cine, Vulcana, Sancho & Punta, Paraíso Production World Sales Latido Films

Manuel Nieto Zas [導演的話] 大約十多年前，烏拉圭 2002 年經濟危機過後不久，郊區很多農莊（尤其是經營畜牧業的）都被迫賤賣田地求存，土地權變得愈發集中，注入的新資本協助資本家進一步剝削土地和勞工。於是勞工離開鄉郊湧進城市，待收割時才回到田地工作。一直留下來的人很多拒絕接受改變，卻益發孤立。這被人遺忘的一群緊抱着鄉郊傳統，視為神聖不可侵犯的東西，他們捍衛自己需要與大自然不斷接觸的生活方式，其中馬匹扮演了關鍵的角色。馬，不止是役畜或交通工具，牠們不畏勞苦的精神，也令其成為自由和獨立的崇高象徵。影片故事圍繞着上述兩個世界發生。兩位年輕主角互為鏡像。儘管他們可能感覺親近，但事實並非如此。其中一人心懷內疚，另一人野心勃勃，從而建立了一個不太光彩的同盟關係。

Interview

Scriptwriter Kiro Russo Cinematographer Pablo Paniagua Editor Kiro Russo, Pablo Paniagua, Felipe Gálvez

142 THE PASSION OF LATIN AMERICAN CINEMA 拉美風情 The Great Movement El Gran Movimiento 迷城煉魂記 Bolivia/France/Qatar/Switzerland 玻利維亞／法國／卡塔爾／瑞士 2021 | Spanish | DCP/Online | Colour | 84 min

Production Designer Lorena Peñaloza

What was your inspiration for this film?

When we represent life through cinema, there are several levels of representation. We can reach the highest point of fiction where everything is created almost in 3D, but we also have the possibility of thinking about cinema as the reflection of a moment. Even though the scenes never paint the exact same reality, they can be close or far from it. I am very interested in the traces of time, in this case the traces of time that are captured in the walls of a city. On the other hand, optics can condition our gaze and sometimes make us see things that are invisible to our eyes, which is why I am so interested in zooming in this film. La Paz is a city where you always see several neighbourhoods including neighbourhoods on the mountain in front of you. We see the houses but we can’t see the people and when we zoom in, we can see the details and it’s another world than the one seen from afar. This relationship of being able to see and not see, seems to me very close to the idea of individuality vs. crowd. We are immersed in the middle of a crowd but we can’t see anyone.

Music Miguel Llanque Sound Mauricio Quiroga, Mercedes Tennina, Juan Pedro Razzari, Emmanuel Croset Cast Julio César Ticona, Max Bautista Uchasara, Francisca Arce de Aro Production Socavón, Altamar films

The Great Movement is an exploration of this relationship between the individual and the multitude. The film wants to give an account of the way this system functions. with Kiro Russo [導演訪問]

World Sales Best Friend Forever

《迷城煉魂記》的創作靈感是什麼？用電影再現生活有好幾個層次。我們幾乎可以用立體創作一切，達致虛構的最高境界，但我們也有可能把電影想像為反思的時刻。即使場景並不會把同一種現實刻劃出來，而保持或遠或近的距離。我十分關注時間的痕跡，在這部電影裏，就是在城市圍牆裏捕捉的時間痕跡。另一方面，鏡頭可以支配我們的凝視，有時更能令我們看見肉眼看不見的東西。這也是我在本片那麼關切變焦鏡頭的原因。在拉巴斯這個城市，你經常可以跟山上那一層包一層的住宅區照面。我們看見房子，但看不見人，而放大畫面，我們就看見細節，看見和遠距離看時不一樣的世界。這一個看見與看不見的關係，對我來說，很接近個人與群體的意念。我們身處人群之中，但我們看不見其他人。《迷城煉魂記》探索的是個人與大眾的關係，影片希望可以對這一系統的操作方式提供某種說明。 Kiro RUSSO was born in La Paz in 1984, and trained at FUC Buenos Aires. His debut feature, Dark Skull (2016), won him many awards worldwide, including the Grand Prize in Indie Lisboa. Shot in La Paz on Super 16mm, The Great Movement is his second feature film. 基羅羅素 1984 年生於玻利維亞拉巴斯，後赴布宜諾斯艾利斯電影大學修讀電影。2016 年首拍長片《黑頭骨》即贏得不少獎項，包括里斯本獨立電影節大獎。次作《迷城煉魂記》採用超 16 米厘菲林，於拉巴斯拍攝。 SELECTED FILMOGRAPHY 主要作品 2010 Enterprise (short) 企業（短片） 2016 Dark Skull 黑頭骨 2021 The Great Movement 迷城煉魂記 ©socavon - altamar films

Director Kiro Russo Producer Kiro Russo, Pablo Paniagua, Alexa Rivero

Producer Alejandro de Icaza, Gabriela Maldonado Miquelerena, Laura Santullo, Rodrigo Plá Laura Santullo, Rodrigo Plá Odei Zabaleta Miguel Schverdfinger Ana J. Bellido Julia Chávez, Israel Rodríguez Bertorelli, Christopher Jones, Malicia, Sergio Leonardo Delgado

Production Designer

Cinematographer

Production Buenaventura Cine World Sales Outsider Pictures

羅德里高柏拉 1968 年生於烏拉圭蒙特維多，在墨西哥城電影訓練中心進修。2007 年首次執導長片《高度設防地帶》，贏得威尼斯影展最佳首作獎。其後作品多次入圍國際影展並獲得獎項。他亦於多間機構教授編劇及電影課程。 FILMOGRAPHY 作品年表 2021 The Other Tom (co dir ) 無藥可究（合導） SELECTED FILMOGRAPHY 主要作品 2007 The Zone 高度設防地帶 2012 The Delay 夾心女的日與夜 2021 The Other Tom (co dir ) 無藥可究（合導） THE PASSION OF LATIN AMERICAN CINEMA 拉美風情

Scriptwriter

《無藥可究》的緣起，在於要對所謂多項綜合症狀及精神障礙的兒童「流行病」作出回應。醫生透過行為觀察而診斷出這些「病」。我們見證的這個時代，會將一些典型的童年行為也視為病態。每天愈來愈多兒童服用精神科藥物、愈來愈多教師要求治療這些兒童、愈來愈多醫生與精神科醫生像處方阿士匹靈那樣，開出精神活性藥物的處方；更有愈來愈多家長決定在這種機制中嘗試解決他們孩子的行為問題。在關於專注力失調及過度活躍症的眾多疑問中，我們特別感興趣的是隱藏在診斷裏對兒童的取態，以及對人類極度簡化的看法。兒童被化約成他們當下的行為，不把個人經歷計算進去，把他們的社交、情緒及家庭實際狀況的行為都割離開去。我們希望透過這部電影去叩問自己到底發生了什麼事。我們把焦點放在「難纏」的九歲男孩湯，以及他年輕的單親母親伊娜這個家庭之上，把他們的經歷搬上銀幕，因為我們相信由觀察個人出發，可以見微於著，以小見大。 Laura SANTULLO was born in Uruguay. She is an awards winning screenwriter, collaborating with film director,

Rodrigo PLÁ was born in 1968 in Uruguay, and studied at the Centro de Capacitaction Cinematografica in Mexico City. His first feature, The Zone (2007), won the Best First Feature at Venice. He also teaches scriptwriting and filmmaking courses and workshops at several academic institutions.

143 Mexico/USA 墨西哥／美國 2021 | English | DCP/Online | Colour | 111 min

Editor

蘿拉山圖露烏拉圭出生的編劇，長期與丈夫羅德里高柏拉合作，並為他的四部長片編寫劇本，獲得不少獎項與提名。《無藥可究》是她首次擔任導演的作品。

Sound Anuar Yahya Cast

The Other Tom El Otro Tom 無藥可究

Director Rodrigo Plá, Laura Santullo

The Other Tom is a project that was born as a reaction to the “epidemic” of children with multiple syndromes and mental disorders, diagnosed from observing their behaviour. We are witnessing a time when behaviours typical of childhood are seen as pathologies. Every day more children are taking psychiatric medication, more teachers request this medication, more doctors and psychiatrists prescribe psychoactive drugs, as if they were aspirin, but more and more parents are taking the decision to solve their children’s behavioural problems within this setup. Of the many things that could be questioned about the diagnosis of ADHD (Attention Deficit Hyperactivity Disorder), we are especially interested in looking at the approach to children implicit in this diagnosis, and the overwhelming simplification of what a human being is; the child is reduced to their immediate behaviour, devoid of any personal history, detached from their actions from their social, emotional and family realities. With all of this in mind we constructed The Other Tom to question and ask ourselves what is happening. We do so by focusing on one particular family, made up of Tom, a “difficult” nine-year-old boy, and his mother Elena, a young single woman, bringing to life their personal drama, because we believe that it is precisely from the observation of the individual that we can attempt to take on something bigger. Fully aware that it is one point of view; one amongst many. Rodrigo Plá and Laura Santullo [導演的話] and life-partner, Rodrigo Plá, and wrote all four of Plá’s feature films. The Other Tom is her first co-directorial credit.

One Mexican critic said that New Order is not so much a dystopia as an exaggeration of the present situation in Mexico. It’s both. It is a dystopia because it makes reference to genre film. And I’m by no means just a festival filmmaker.

Interview

[導演訪問] 有墨西哥影評人說《赤裸新秩序》並非一則反烏托邦的預言，而是對墨西哥現狀的誇張表述。兩者都有吧。它反烏托邦是因為它參考了類型電影，而我絕不只是一位影展導演。《赤裸新秩序》用詩意的序章開篇，配樂用上蕭士塔科維奇、帶有神秘美的綠色影像。在一部包括暴力影像的電影中，你怎樣看詩所扮演的角色？是的，詩很重要。例如片中一個從來沒有解釋的細節 ──綠色的水從水龍頭流出。暴力對藝術重要得很，例如我最喜歡的畫家哥雅，他的作品就正是代表。影片裏這兩方面我都有兼顧。本片的拍攝風格和你的前作很不同，今次你用了很多移動鏡頭。這是一次大轉變，部分原因是劇本有很多敘事角度。我前五部電影都有類似的緩慢風格，但人們不曉得我也拍過電視廣告。一般來說我不喜歡綵排，但由於要一鏡過拍攝那場歷時三分鐘的入侵豪宅戲，我們排演了三星期。 Michel

Sight

New Order begins with a poetic prelude, set to Shostakovich, of enigmatic images linked by the colour green. How do you see the role of poetry in a film which also includes graphic images of violence? Yes, poetry is very important. For example, in one detail which is never explained, green water flows from the faucet. Violence is vital to art, for example, in Goya, who is my favourite painter, and I’m going for both aspects here. The shooting style is different to your previous films, with a newly mobile camera. This was a big change, partly because there are many points of view in the script. My first five movies were shot in similar, slow style. But people don’t know that I’ve also made TV commercials. Normally I don’t like to rehearse, but we needed three weeks for the technically challenging three-minute single take of the house invasion. with Michel Franco and Sound FRANCO was born in Mexico City, Mexico in 1979 and started making short films after his media studies. His directorial debut, Daniel and Ana, was made in 2009. He won Un Certain Regard for After Lucía (12), and Best Screenplay for Chronic (15) at Cannes. New Order, won him the Silver Lion Grand Jury Prize at Venice. 1979

年生於墨西哥城，修讀傳理課程後去拍短片，也炮製廣告片及錄像， 2009 年執導長片首作《丹尼與安娜》。次作《校園欺凌後》(12 ) 獲康城影展「某種觀點」大獎。第三部長片《非常看護》( 15 ) 再於康城贏得最佳編劇。近作《赤裸新秩序》獲威尼斯影展評審團大獎。 SELECTED FILMOGRAPHY 主要作品 2012 After Lucía 校園欺凌後 2015 Chronic 非常看護 2017 April ’ s daughter 雛為人母 2020 New Order 赤裸新秩序 2021 Sundown 日落前的躺平人生 Persons Aged 18 and Above Only 只准18歲或以上人士

米修法蘭哥

144 THE PASSION OF LATIN AMERICAN CINEMA 拉美風情 New Order Nuevo Orden 赤裸新秩序 Mexico/France 墨西哥／法國 2020 | Spanish | DCP | Colour | 86 min Director Michel Franco Producer Michel Franco, Cristina Velasco L., Eréndira Núñez Larios Scriptwriter Michel Franco Cinematographer Yves Cape Editor Oscar Figueroa Jara, Michel Franco Production Designer Claudio Ramírez Castelli Music Mauricio Gonzo Arroyo Sound Alejandro de Icaza Cast Naian González Norvind, Diego Boneta, Mónica Del Carmen Production Teorema, Les Films d'Ici World Sales The Match Factory

Production Teorema World Sales

What is there in the quiet, in the interruptions of violence, that draws your attention? Well that’s just part of life. Maybe it’s also that I was born and raised in Mexico, a country full of social disparity and contrast, a very violent country. Of course, not unlike most places in the world, but still, Mexico tends to stand out a bit. And I think it’s mainly about not running like crazy from one thing to another, running away from things to get on with the story. I prefer to observe, and I’m sure that the audience likes that and appreciates it. So you’re trusting the audience with this pacing? Yes, but to me, this is the normal way to approach things. I honestly just don’t like formulaic movies. I’m respectful with the audience. I think my only purpose, the best I can do, is to ask questions, and then every member of the audience will see a different movie because we will have different answers to those questions. From their own experience. When I have to explain what a movie of mine is about, before shooting, hopefully it will never be possible. A movie should only be understood by watching it. It’s best if we’re not able to put it into words. That’s the power of cinema as opposed to literature. It’s more abstract and it should be. We should keep it that way so we don’t kill the mystery. Interview with Michel Franco Filmmaker [導演訪問]

Director Michel Franco Producer Michel Franco, Eréndira Núñez Larios, Cristina Velasco L. Scriptwriter Michel Franco Cinematographer Yves Cape Editor Oscar Figueroa Jara, Michel Franco Production Designer Claudio Ramírez Castelli Music Marco Antonio Oliver Lynch Sound Alejandro de Icaza, Niklas Sharp Cast Tim Roth, Charlotte Gainsbourg, Iazua Larios, Henry Goodman

米修法蘭哥 1979 年生於墨西哥城，修讀傳理課程後去拍短片，也炮製廣告片及錄像， 2009 年執導長片首作《丹尼與安娜》。次作《校園欺凌後》(12 ) 獲康城影展「某種觀點」大獎。第三部長片《非常看護》( 15 ) 再於康城贏得最佳編劇。近作《赤裸新秩序》獲威尼斯影展評審團大獎。 SELECTED FILMOGRAPHY 主要作品 2012 After Lucía 校園欺凌後 2015 Chronic 非常看護 2017 April ’ s daughter 雛為人母 2020 New Order 赤裸新秩序 2021 Sundown 日落前的躺平人生

after

如果純粹用階級劃分的角度去評論這部電影，便有可能忽略了更大的題目，像角色的個人道德觀如何在敘事中體現。我只是不覺得這有什麼妨礙。我的意思是我們可以逐部電影談論，但這樣的話，我好像就是要為它們具有普遍意義這事實進行辯論了。我每一次拍電影，每一次寫劇本，都是獨特的，是我所做的選擇。不過我想每個觀眾都可以從我鏡頭下角色所經歷的道德挑戰和存在之旅，看到自己的寫照。不劇透，但在《日落前的躺平人生》，主角尼爾花了很多時間跟沙灘上偶遇的年輕女子發展關係。故事發展下去，我們會覺得有些可怕的事情快會發生，尼爾這新情人會以某種方式背叛他。然而，後來發現，原來這段關係蠻動人的，他只是純粹活在當下。這肯定是個愛情故事。我喜歡這段情他不是求回來的。他不求什麼，而透過無所為，很多事情便找上他。這些事情部分不太正面，但他就活在每一天裏，活在當下一刻。這是很難做到的，但我持續聽見別人說，這是我們應該過的生活。

Order,

ía (12), and

Michel FRANCO was born in Mexico City, Mexico in 1979 and started making short films his media studies. His directorial debut, Daniel and Ana, was made in 2009. He won Luc Best for Chronic at Cannes. New won him the Silver Lion Grand Jury Prize at Venice.

145 THE PASSION OF LATIN AMERICAN CINEMA 拉美風情 Mexico/France/Sweden 墨西哥／法國／瑞典 2021 | English/Spanish | DCP | Colour | 82 min

Sundown 日落前的躺平人生

(15)

The Match Factory

Screenplay

Un Certain Regard for After

DOCUMENTARIES 紀錄片 Reality Bites 真的假不了

Andrea Arnold Producer Kat Mansoor Cinematographer Magda

Editor Rebecca Lloyd, Jacob

147 REALITY BITES 真的假不了

Film Festival. 安芝亞雅萊 1961 年英國出生，拍過三部短片，包括《奶》(98 )、《狗》(2001 )、《黃蜂》(03 )，曾獲得不少獎項。她分別憑《獵男閉路》( 06 )、《 90 後．少女．性起義》( 09) 及《美國甜心》 ( 13 ) 三度奪得康城影展評審團獎。 SELECTED FILMOGRAPHY 主要作品 2006 Red Road 獵男閉路 2009 Fish Tank 90 後．少女．性起義 2011 Wuthering Heights 咆哮山莊 2016 American Honey 美國甜心 2021 Cow (docu ) 乳牛的黃昏（紀錄片） ©Rankin

Nicolas

Director Kowalczyk Schulsinger, Chaudeurge

乳牛的黃昏 UK 英國 2021 | English | DCP | Colour | 98 min

Cow

Whenever I have felt troubled or lost or overwhelmed with life, I have always sought nature. It has always grounded me and put me in touch with myself again. […] We are nature. We are animals. The top of the food chain. But we are still animals and we have many animal instincts. Denying this, separating ourselves and disconnecting from this is starting to seem more and more at our peril. Our relationship with the millions of non-human lives we use is very much part of our existence. I made Cow to invite engagement with that. My childish wanderings and love for animals were I think very instinctive and natural and honest. I wasn’t restrained by anyone and so followed my own expression. And my relationship with nature as a kid wasn’t just a romantic, whimsical one. It was engaged and immersive. There was both joy and pain. It was real. I hope this film in some small way can connect anyone who sees it not just to cows and other non-human conscious animals but to that deep knowing and animal nature in ourselves. That we are all connected to everything living. Andrea Arnold [導演的話] (06), Fish Tank American Honey (16) at Cannes

Music Siman Astall, Ben Turner Sound Nicolas Becker Production Halcyon Pictures World Sales mk2 Films

每當我感到困擾、迷失或不堪負荷，我常常在大自然尋求力量。它令我感到踏實，尋回自己內心的感覺。望向窗外，我最常見的動物是牛。牠們被放牧在綠草地上，安靜、和平、浪漫，像一幅畫。我對牠們生活的實況感到好奇，驅使我想拍《乳牛的黃昏》。牛是我們生活的一部分，為我們提供不少生活所需，但我卻感到與牠們隔閡。我想跳進那曾熟悉的環境，看看牠們的實況究竟是怎樣。我們屬於大自然，也屬於動物，位於食物鏈的最上層；但我們仍是動物，保留着不少動物本性。對此否定，將自己與動物分割、切斷，我們將後果自負。我們與數以萬計的非人類生命之關係，是我們存在的重要一環。我拍攝《乳牛的黃昏》是希望促進人與動物之間的聯繫。兒時浪蕩及對動物的愛，我想是出於本能直覺，自然而真誠。我沒有被任何人約束，可以隨心而活。我孩提時與大自然建立的關係不單只是浪漫而奇妙，也是緊密而深入的；既有喜樂，亦有傷痛。這都是真實的。我盼此片能盡一點綿力，讓人能與牛以及其他非人類生物聯繫，並且時刻謹記我們內在的動物本性。我們與一切生命息息相關。 Andrea ARNOLD was born in 1961 in England. She made three acclaimed shorts: Milk (98), Dog (2001) and Wasp (03), the latter winning an Academy Award for Best Live Action Short Film. She won the Jury Prize three times with Red Road

(09) and

火山之戀 USA/Canada 美國／加拿大 2022 | French/English | DCP/Online | Colour | 93 min

Sound Patrice LeBlanc Production Intuitive Pictures, Cottage M World Sales mk2 Films

Nicolas

Fire of Love is the first archival film I’ve ever directed, the previous two independent films I directed were primarily vérité…. We thought an archival project that required no new shooting would be “Covidsafe” and were reminded of Katia and Maurice Krafft’s story, which we first came across on our last feature together, The Seer & The Unseen Simultaneously, deeper shifts occurred in my personal world –largely catalysed by the pandemic – which raised questions about the precarity of life, the meaning of existence, facing fear and death, uncertainty and charging towards the unknown, as well as the heart-warming and heart-aching complexities of love. While Fire of Love is not in the slightest autobiographical, Maurice and Katia’s own story became a vehicle through which I could wrestle with these ideas. Filmmaking became more important than ever before to me personally: it was a place where I could not just contemplate deeply meaningful and challenging questions, but further discuss them with my collaborators whose insights, opinions and talents I respect tremendously. I think the film perhaps became more emotionally resonant because we were all experiencing these questions in our personal life and infused those emotions into our film. In this way, the pandemic prompted not just a reconsideration of the form of storytelling that I had relied upon in the past, but sparked a deeper contemplation into our creative process. Dosa

Production

Editor Erin Casper, Jocelyne Chaput Designer Erin Ryan Music Godin

Sara

Fire of Love

148 REALITY BITES 真的假不了

Director Sara Dosa Producer Sara Dosa, Shane Boris, Ina Fichman

[導演的話] 過去兩年令我們沉思亦重新考量拍電影的原因及方法。《火山之戀》是我首部以檔案資料拍成的影片，之前執導的兩部獨立作品主要是真實拍攝紀錄片。我和監製莎恩波利斯、助理監製伊利亞史提芬斯為籌備第三部真實電影，在西伯利亞視察時疫症爆發，令我們被迫轉向。我們認為利用檔案資料，不用真實拍攝，在疫情下較為「安全」，並想起在前作《先知和看不見》初次發現莫利斯與卡蒂亞克拉夫特夫婦的故事。同一時間，我的個人世界因疫情而產生深遠改變，不少問題油然而生：生命無常、存在意義、面對生死、禍福不定、探索未知，以及愛之溫暖和傷痛。雖然《火山之戀》並非自傳，但莫利斯與卡蒂亞的故事成為一個載體，讓我可以探討這些意念。拍電影對我個人而言愈來愈重要，不僅讓我深刻思考有意義且具挑戰的問題，更可以與合作者共同討論，他們的見解、觀點及才華令我佩服。我想影片或許會變得更有情感共鳴，因為我們的人生也曾經歷過這些問題，將感受融入影片之中。如此看來，疫症不單讓我重新思考過去一直依賴的說故事形式，更喚起我們對創造過程的沉思。 Sara DOSA is a documentary director and producer. She made her first feature, The Last Season, in 2014. Her third feature, The Seer & The Unseen (19), won awards at a number of festivals. 莎拉杜莎身兼紀錄片導演及監製。 2014 年拍成首部紀錄長片《最後的季節》。第三部作品《先知和看不見》(19 ) 在多個電影節獲獎。 SELECTED FILMOGRAPHY 主要作品 2014 The Last Season 最後的季節 2019 The Seer & The Unseen 先知和看不見 2022 Fire of Love 火山之戀 © Image_Est ©Erik Tanner

149 REALITY BITES 真的假不了 I’m So Sorry Wu qu lai chu 無去來處 2021 | Putonghua/Japanese/Russian/German DCP | Colour | 96 min Director Zhao Liang Producer Zhao Liang, Serge Lalou, Valérie Guérin Cinematographer Zhao Liang, Sun Shaoguang Editor Fabrice Rouaud, Zhao Liang Music Mikael Plunian Sound Jeroen Goeijers Production Zhao’s Image Production Limited, Arte France, Les Films d’Ici World Sales Rediance

Nuclear technology is the culmination of human reasoning; symbolising human advancement at its highest level. And yet, just like Pandora’s box, it may be the most severe threat to humanity that science has ever created. Besides the deadly effects of nuclear weapons, the maintenance of nuclear power plants remains a challenge, since upkeep must be immaculate. As the lies told by the Soviet and Japanese regimes, reveal to us as well as the suffering of local residents in the aftermath of nuclear fallouts at Semipalatinsk, Chernobyl, and Fukushima, when individual well-being is at odds with the state’s interest, powerlessness comes to define the individual’s fate. And the misery of small groups of people may be conveniently excluded from official Constructingrecords. an image narrative with the tone of an essay-poem, I want to portray the workers employed in the various nuclear facilities, everyday images of isolated people still living in exclusion zones, of sick people, especially born disabled children in institutions or families. Collaging scenes that reveal how nuclear power shapes human destiny in the past, present, and future, and following two characters haunting disaster-struck locations, this contemporary parable may help us imagine, and highlight, what kinds of enormous consequences may result from our careless decisions today. Zhao Liang [導演的話]

核能技術是人類在推理論證的結晶，象徵人類在最高水平上的進步。然而，就像潘朵拉盒子一樣，也可能是科技創造對人類最嚴重的威脅。除了致命的核武，核電站的保養仍然是一項挑戰，因為維修保養必須完美無瑕。正如蘇聯和日本政府的謊言，以及前蘇聯塞米巴拉金斯克核武試驗基地、切爾諾貝爾和福島核輻射事故後當地居民所遭受的痛苦，都向我們揭示了當個人福祉與國家利益不一致時，個人命運就只有無力感，一小群人的苦難可以輕易地從官方記錄中剔除。過去核災難的受害者如何繼續他們的生活？誰負責書寫人類的命運？我想以散文詩的基調，構建影像敘事，描繪那些受僱於各種核設施的工人、仍然孤立地生活在核禁區的人、核事故的病人，尤其是院舍或家庭裏一出生已殘疾的兒童。拼接的場景，揭示核能在過去、現在和未來如何塑造人類命運，並跟隨着兩個在受災地區陰魂不散的角色，這個當代寓言可幫助我們想像，並且強調，我們今天大意的決定可導致何等沉重的後果。 ZHAO Liang was born in Liaoning, China in 1971. He graduated from Luxun Academy of Fine Arts in 1992. Based in Beijing, he works as an independent documentary filmmaker, as well as an artist in photography and video art. 趙亮 1971 年生於遼寧省丹東， 92 年畢業於魯迅美術學院， 93 年在北京電影學院攝影系修讀劇情片攝影，並從事紀錄片創作，現居北京。 SELECTED FILMOGRAPHY 主要作品 2001 Paper Airplane 紙飛機 2007 Crime and Punishment 罪與罰 2009 Petition 上訪 2015 Behemoth 悲兮魔獸 2021 I’m So Sorry 無去來處

150 REALITY BITES 真的假不了 Navalny 毒殺納瓦尼 USA 美國 2022 | Russian/English/German DCP | Colour | 99 min Director Daniel Roher Producer Odessa Rae, Diane Becker, Melanie Miller, Shane Boris Cinematographer Niki Waltl Editor Langdon Page, Maya Daisy Hawke Music Marius de Vries, Matt Robertson Sound Markus Vetter Production CNN Films, HBO Max World Sales Dogwoof

Daniel Roher

[導演的話] 有人介紹我認識著名保加利亞記者格羅澤夫，他是獨立新聞組織 Bellingcat 負責俄羅斯新聞的首席調查記者，該組織由研究人員、調查人員及公民記者組成，利用社交媒體調查世界各地罪案。格羅澤夫說：「你認識納瓦尼嗎？我可能知道誰試圖毒殺他。」他話一出口，我就知道之後一年要做什麼了。格羅澤夫可能是世上唯一可以寫信告訴納瓦尼，表示自己掌握毒殺案線索，而納瓦尼又會認真看待的人。格羅澤夫的專長，最適合用來破解俄羅斯落毒事件。於是，敖德薩、格羅澤夫和我，穿過奧地利和德國的邊境，來到了黑森林中一個叫聖布拉辛的寂靜小鎮，見到了納瓦尼。他卸下心防，笑容溫煦，很是迷人。我們向他提出拍攝紀錄片的建議，以及解釋為何我們是適當人選。儘管我還算是初哥，但希望他知道我們會盡一切努力去拍他的故事，相信他能看到我的熱情和渴望，應該就是他首肯的原因。他被我們說服了，因為我們說：「好，現在開始吧。」他本身擅長媒體輿論戰，很明白如果要拍這個暗殺故事，我們必須馬上開始。

I was introduced to renowned Bulgarian journalist Christo Grozev, lead Russian investigator for Bellingcat, an independent global organisation of researchers, investigators and citizen journalists who use open source and social media investigation to solve crimes around the world. Christo says, “You know that Alexei Navalny guy? I might have a lead on who tried to poison him.” As soon as he said the words, I saw the next year of my life. Christo is probably the only human on the planet who could have written to Alexei and said, “I have a lead on who tried to poison you” and Alexei would take it seriously. Solving Russian poisoning cases is one of the best uses of Christo’s talents. So before we knew it, Odessa, Christo and I were crossing the Austria-Germany border to this sleepy town called St. Blasien in the Black Forest and I met HeAlexei.was disarming, his smile was warm, he was charming. We pitched him on a documentary project and why we had to be the ones to make it. Despite being in the beginning of my career, I hope he knew we’d bring every last effort to telling his story, I think he could see my passion and hunger and I believe that’s what made the difference.

丹尼羅厄 1993 年生於加拿大多倫多，紀錄片導演，執導的兩部紀錄短片均獲加拿大影視獎提名，首部長片《曾經是兄弟》成為 2019 年多倫多電影節開幕電影。新作《毒殺納瓦尼》於辛丹斯電影節作全球首映。 SELECTED FILMOGRAPHY 主要作品 2015 Survivors Rowe ( short) 羅維牧師性侵案（短片） 2016 Sourtoe: The Story of the Sorry Cannibal ( short) 酸腳趾雞尾酒（短片） 2019 Once Were Brothers : Robbie Robertson and the Band 曾經是兄弟 2022 Navalny 毒殺納瓦尼

Daniel ROHER was born in Toronto, Canada in 1993. Following a brace of Canadian Screen Award-nominated shorts, his feature debut, the documentary Once Were Brothers: Robbie Robertson and the Band, was the opening night film at the 2019 Toronto International Film Festival. His follow-up, Navalny, had its world premiere at Sundance in 2022.

DOCUMENTARIES 紀錄片 Filmmakers and Filmmaking 影人影事

Javier Espada

152 FILMMAKERS AND FILMMAKING 影人影事

Buñuel: A Surrealist Filmmaker Buñuel, Un Cineasta Surrealista Javier Espada Producer Emilio R. Barrachina, Pedro Piñeiro Javier Espada, Ignacio Fernando Editor Carlos Ballonga, Jorge Yetano Music Alejandro Ramírez Rojas Tolocha

Sound Benito Sierra Production

I was born in Calanda, a few streets away from the house where Luis Buñuel, Don Luis, was born. I have always lived with his absent presence, with his hoarse voice filling many spaces that needed certain answers, with his omnipresent cinema opening paths and questions not infrequently without arrival and without resolution; but always offering me a new milestone to explore, a new challenge to investigate, to give meaning to a new cinematographic work full of complexity. […] Buñuel always worked from self-criticism, contradiction, his priceless sense of humour and a proximity in his plots, always in favour of the public. This turned a good number of his films into a cinema as demanding as “suitable for all audiences”, all without renouncing to a discourse with a lot of criticism, reflection or intellectual depth. With all these elements in my palette, I could not help but capture them in the same way and in the same medium, cinema. The result of Buñuel: A Surrealist Filmmaker is as elegant as it is inspiring and provocative about the work of Luis Buñuel, about whom, of course, the last word has not yet been said. I hope so.

Producciones World Sales Latido Films

[導演的話] 我生於西班牙卡蘭達，家在布紐爾出生的故居附近。我活於他的身影下，他的蒼聲瀰漫於尋求答案的空間，他的獨特電影開闢蹊徑、提出問題，往往沒有解決方案，卻為我提供探索的新里程、新挑戰，為錯綜複雜的新電影作品賦予新意義。對我身為影迷、研究者以及導演而言，他的影響無處不在。這部紀錄片是一個新空間，集合了兩方面的因素：一是我在 2019 年間就布紐爾超現實主義發表的演講而衍生的研究成果，另一是因新冠疫情導致工作中斷。工作停擺、備受挫折之際，布紐爾再度出現，成為我的重要動力。這段期間我可以有條不紊地整理從電影圖書館、收藏及歷史基金會得來的檔案，並嚴肅從事一直以來對布紐爾作品的科學研究。我很榮幸能夠修復這些檔案，將布紐爾、其身處環境及工作相關的文件及相片數碼化，讓我深入了解他拍電影的方法、創作過程及參考素材。布紐爾經常自我批判、自相矛盾、風趣幽默，劇情貼近群眾，令其電影既對觀眾有要求亦同時適合所有觀眾，而不乏批判、反思及深度。故此，我只能以電影這同一媒介、同一方式去捕捉這些元素。以此探索布紐爾的作品，既優雅且具啟發性及挑釁性。 Javier ESPADA was born in Calanda, Spain. From 2000 to 2016 he was the director of the Centro Buñuel de Calanda. He created the Calanda International Film Festival and has curated multiple exhibitions related to Buñuel and cinema. 哈維爾埃斯巴達生於西班牙卡蘭達， 2000 至 16 年間擔任卡蘭達布紐爾中心總監。他創辦卡蘭達國際電影節，並策劃了不少關於布紐爾及電影的國際展覽。 SELECTED FILMOGRAPHY 主要作品 2010 Resident El Milagro (short) 奇蹟公寓(短片) 2013 Una mujer sin sombra 無影女 2021 Buñuel: A Surrealist Filmmaker 布紐爾的超現實魅力

Cinematographer

布紐爾的超現實魅力 Spain 西班牙 2021 | Spanish | DCP/Online | Colour | 83 min Director

Alice AGNESKIRCHNER was born in 1966 in Munich, Germany, where she studied political science, theatre comparative She finished her degree in film directing at the Babelsberg Film Academy in East Germany in 1995. Her first feature length Raulien’s Revier (95) won the Golden Hugo Award at Chicago IFF.

anthropology.

documentary,

Alice Agneskirchner

[導演的話] 如果拍紀錄片有什麼秘訣，那就是：建立察覺真實的感知，當它在鏡頭前一出現即快捷地以聲畫捕捉。對我尤為重要的，不僅是描繪出五、六及七十年代的柏林精神，而是在影片中讓它活出來。不止一次，我害怕未能好好完成任務。格雷戈爾夫婦的活動範疇甚廣，要從大量電影、檔案資料、相片、節目、海報及報刊文章中作篩選。我常感到被海量的資料所淹沒，找不到出路，更拍不出合適的影片。看待格雷戈爾夫婦的角度，一如兩人的生平，必須既深且廣。當主角仍在生，如何才能成功拍攝一部人物傳記，重塑他們的生命？怎樣才能公平對待兩位電影界的表表者？怎樣以個人生活為背景，講述文化歷史及百年影史？多少是私事而必須保存私隱？這都關乎如何平衡。我們與愛麗嘉及烏力克格雷戈爾夫婦每日從零開始商討，在一年半拍攝過程中逐漸建立信任，我們得以拍到一些時刻，讓觀眾一窺兩夫婦的私生活；他們結婚六十多年，在共同活動之外一直享受一起生活及工作。格雷戈爾夫婦對我們說「跟我到戲院」，確實如是：「人生可以沒有電影，但就會全無意義。」

If there is a secret to documentary film, it is this: developing a sense for what is true and making the rapid decision to capture it, in picture and sound, the moment it reveals itself in front of the camera. […] It was especially important to me not only to describe the spirit of Berlin in the Fifties, Sixties, and Seventies, but to bring it to life in the film. How can one succeed in reproducing a life lived while the protagonists are still alive in a biographical film? How can one do justice to two icons of the film industry? How can one tell a cultural history, and above all 100 years of film history, against the background of private lives? How much is private and must remain so? It was a balancing act. One that we negotiated with Erika and Ulrich Gregor, starting from scratch each day. Trust between us grew over the course of a year and a half of filming. It became possible to shoot moments that allowed a glimpse into the private lives of this couple, married for over 60 years, who continue to enjoy living and working together, beyond the sphere of their mutual activity. “Come with me to the cinema”, that’s what “The Gregors” say to us, true to the motto: “A life without cinema is possible, but pointless.”

studies, and

愛麗絲艾利斯卻娜 1966 年生於德國慕尼黑，在當地修讀政治、劇場及比較人類學。95 年於東德的巴伯斯貝格堡電影學院取得電影導演學士學位，同年執導首部紀錄長片《勞里恩的領地》獲芝加哥電影節金雨果獎。 SELECTED FILMOGRAPHY 主要作品 1995 Raulien’s Revier 勞里恩的領地 1999 Waschen und Legen 理髮 2019 Kids in the Spotlight 鎂光燈下的孩子 2022 Come with Me to the Cinema The Gregors 似是戲緣人 ©Erika Rabau ©Thomas Ernst

153 FILMMAKERS AND FILMMAKING 影人影事 Come with Me to the Cinema – The Gregors Komm Mit Mir In Das Cinema – Die Gregors 似是戲緣人 Germany 德國 2022 | German/English | DCP/Online | Colour | 154 min Director Alice Agneskirchner Producer Sandra Ehlermann, Alice Agneskirchner Cinematographer Jan Kerhart Editor Silke Botsch Music Max Knoth Sound Roman Strack Production/World Sales Ehlermann & Agneskirchner Filmproduktion

Luca Rea [導演的話] 當妮可萊塔來電，討論是否可能製作一部關於沙治奧科布奇的紀錄片時，大家都非常激動。我們立刻明白，這是突破我們事業關口的契機，是個幾乎從未交錯但有共同特性的意念：對電影的極大熱情、對意大利大眾電影的特殊熱情、對沙治奧科布奇的強烈熱情，以及對昆頓塔倫天奴的盛大熱情。我們認為塔倫天奴可以是這個故事的支撐點：他把科布奇其中一部最出名的電影拍了新版，並安排《從前，有個荷里活》的角色提及了科布奇。我們不想只是拍塔倫天奴的大頭訪問，我們希望他成為這部電影的靈魂，想表現科布奇的「現代」性，就像塔倫天奴處理意大利的大眾電影那樣。不是採用六十年代的美學，而是具有現代感。那些看過並喜歡《黑殺令》的觀眾，往往甚至不知道過去還有另一部《游俠蕩寇誌》（或譯《黑煞星勇戰群魔》）。我們的電影也想這樣：並非懷舊或指涉主義，而是透過理解科布奇這個人並發現他的現代性，在今天去理解為什麼他是如此非凡的作者導演。正如塔倫天奴教曉我們的那樣，談論科布奇，意味談論種族主義、暴力、革命、法西斯，但以一種創造性的方式，而不是用預設的言辭。 Luca REA was born in 1971 in Sora, Italy. As a film director and writer, he made several documentaries, as well as narrative feature films. 路加雷亞 1971 年生於意大利索拉，身為導演及編劇，執導作品包括紀錄片及劇情長片。 SELECTED FILMOGRAPHY 主要作品 2007 Lillo e Greg - The Movie! 利洛與格雷大電影 2010 Cacao 可可 2015 Liberi Tutti 全部免費 2021 Django & Django 黑煞星大導

154 FILMMAKERS AND FILMMAKING 影人影事

Producer Nicoletta

Cinematographer Andrea

Django & Django 黑煞星大導 Luca Rea Ercole, Marzano Arnone Stuart Mabey Music Guerra Cinematografica, Luce

Italy 意大利 2021 | Italian/English | DCP/Online Colour | 90 min Director

Editor

Nicola

R&C Produzioni, Margutta Studios, Greater Fool Media, Istituto

Andrea

Cinecittà World Sales True Colours

Production Nicomax

When Nicoletta Ercole called us to discuss the possibility of making a documentary on Sergio Corbucci, emotions were high. We immediately understood that it was an opportunity to highlight a crucial moment in our careers, which almost never crossed but shared a main common trait: a great passion for cinema, a specific passion for Italian popular cinema, a burning passion for Sergio Corbucci and a sublime passion for Quentin Tarantino. We thought Quentin could be the fulcrum of this story: he shot a remake of one of Corbucci’s most famous films, and had the characters in Once Upon a Time in Hollywood mention Sergio himself. We didn’t want Quentin to be simply a talking head, an interviewee. We wanted him to be the soul of the film, and our bet was to show Corbucci as “modern” as Tarantino did with popular Italian films. Not with the same aesthetics of the sixties, but with a contemporary look. Many who saw and enjoyed Django Unchained did not even know that there was another Django in the past. Our film wanted to tread the same path: understanding today why Corbucci was such an extraordinary author, without any nostalgia or referentialism, but instead by understanding the man and discovering his modernity. As Tarantino himself teaches us, talking about Corbucci means talking about racism, violence, revolution, fascism. But in a creative way, and not with the rhetoric of pre-ordained positions.

Editor

Director Charlotte Gainsbourg Mathieu Ageron, Maxime Delauney, Romain Rousseau, Charlotte Gainsbourg Adrien Bertolle Tianès Montasser

The

[導演訪問] 你說過拍此片是想以不同角度看母親珍寶金。我隱居於紐約一段頗長時間，令我與母親生了隔閡。姐姐凱特死後，我們經歷了困難時期。我發現我們深愛對方，卻難宣之於口。我想探索我們之間的沉默，要找一個原因去接近她。珍對你的計劃有何反應？起初她對我的手法有點緊張，恐怕我挖掘一些太私人的事情。我想探入母女關係，亦正中她要害。日本之旅後我們再在巴黎見面，我問她想如何繼續。我打算拍她在紐約工作，怎知她說這計劃必須暫停……看過毛片後，大家知道沒什麼令人不安的片段，訪問與影像都很好，她自己也不明白當初為何如此抗拒。她同意繼續拍攝。此片達到你的期望嗎？你是否已從不同角度看母親？此片是我為她而作的宣言，她無疑已明白了。不過，我們之間的沉默依然。影片沒有令我們放開懷抱，但對彼此關係的本質更見清晰，這是個很好的藉口去釐清。結果若然美麗固然是好，但更重要是我能夠伴在她身邊。事實上我們很想繼續拍攝，甚至很難接受影片已完成。藉着拍攝能與對方見面、傾談以至親近，我們不想這機會完結。 Charlotte

Production Designer Nathalie Canguilhem Sound Jean-Luc Audy, Martin Lanot, Samuel Delorme, Marc Doisne

莎樂姬絲寶 1971 年生於英國倫敦，父親是法國音樂家沙治基斯保，母親是英國女星珍寶金。 84 年首次參演電影《戀曲》， 2009 年憑《失落伊甸園》獲康城影展最佳女演員。《姬絲寶寫珍集》是其首部執導之作。 FILMOGRAPHY 作品年表 2021 Jane by Charlotte 姬絲寶寫珍集

Interview

155 FILMMAKERS AND FILMMAKING 影人影事 Jane by Charlotte Jane par Charlotte 姬絲寶寫珍集 France 法國 2021 | French | DCP/Online | Colour | 88 min

Cinematographer

You said you wanted to make this film to see your mother, Jane Birkin, in a different way. I’d taken refuge in New York for quite a long time, which created a distance between us. We’d been through some rough times with Kate’s death. I realized that we clearly loved each other, but we’d never been able to say it. There was a reticence between us that I wanted to explore; I needed a reason to get closer to her. In hindsight, does this film satisfy your uncertain quest at the outset of the project? Have you seen your mother in a different way? This film is a statement I’m making to her – there’s no doubt that she understood that. Nevertheless, there’s still that same reticence between us. This didn’t make us more expansive, but the nature of our relationship is made clear. And it was an excellent excuse for clarifying it. If the object is ultimately beautiful, then great; but that was secondary to the experience I was able to have being by her side. In fact, we’d have liked to continue filming. It was really hard to accept that the shoot was finished, that we had what we needed. We didn’t want this filmic excuse to see each other, talk to each other, and get closer to each other to end. with Charlotte Gainsbourg GAINSBOURG born in London, England in 1971. She is the daughter of English actress Jane Birkin and French musician Serge Gainsbourg. She made her film debut in et musique in 1984. In 2009, she won the Best Actress award at Cannes for Antichrist (09). Jane by Charlotte is her directorial debut.

Paroles

was

Production Nolita Cinema, Deadly Valentine World Sales Party Film Sales

Producer

156 FILMMAKERS AND FILMMAKING 影人影事 Keep on Walking: The Man and His Higher Course 行影・不離 2021 | Mandarin | DCP | Colour | 99min Director Ho Ping Producer Chou Yang-Ming Cinematographer Ho Ping, John Han, Liao Shu-Yang, Hsieh Chia-Hsin, Cai Ya-Xin, Chou Yang-Ming, Shaun Su Editor Liu Yue-Xing Music A Root Sound Tu Duu-Chih, Du Yi-Ching Production/World Sales Yang-Ming Cultural & Creative Co., Ltd. 導演何平監製周揚明攝影何平、韓允中、廖書揚、謝家忻、蔡雅韾、周揚明、蘇天祥剪接劉悅行音樂同根生音響杜篤之、杜亦晴 In Taiwan, director Lee Hsing’s films have become a reflection of society and a collective memory of many. Varying in plot, they discuss identical themes: moral struggles and perseverance. His dedication to films not only jump-started the careers of many movie stars and crew, it is also the foundation of the prestigious Golden Horse Awards. This documentary offers Lee Hsing’s personal perspective on family, films, fate, and beliefs, giving us a glimpse of the glory and rebirth of Taiwanese cinema. Ho Ping [導演的話] 李行，在跨越四十年的創作過程裏，執導 52 部電影和眾多舞台劇，它們反映台灣社會的變遷，同時也是許多人的共同回憶。無論本土喜劇、健康寫實、瓊瑤電影、人倫思辨、或者原鄉情懷的抒發，其類型多元，題材頗具差異，其實都在講同樣的故事：人倫分合和逆境奮鬥。他的電影幾乎都是票房口碑兼具，不僅造就許多明星演員和專業班底，在他的電影服務生涯裏，也深耕並確立了大華語電影的客觀評獎系統──金馬獎。然而，關於「李行是誰」這個問題，隱沒在他龐大作品和服務成就當中，親切但朦朧。本片讓李行自己來說「李行」，以不同段落，貼身聆聽和窺視他的至親、他的電影、他的命運和他的信念；同時引領觀眾，藉着李行永不停歇的步伐和同時代影人的見證，略觀台灣電影不同時代的風華與挑戰再生。 HO Ping was born in Taiwan in 1957. He obtained an MFA from Syracuse University, New York. Currently, he is an associate professor at National Taiwan University of Arts. 何平 1957 年生於台灣新竹，美國紐約雪城大學電影碩士，現在任教於台灣藝術大學電影系。 SELECTED FILMOGRAPHY 主要作品 1993 18 1997 Wolves Cry Under the Moon 國道封閉 2002 The Rules of the Game 挖洞人 2007 Sweet Revenge 寄生人 2021 Keep on Walking: The Man and His Higher Course 行影‧不離

新世紀電影史話 UK 英國 2021 | English | DCP/Online | Colour | 167min

The Story of Film: A New Generation

Interview

This is just such a beautiful, nourishing piece of work. And full of revelation, as always, especially about what has changed in just ten years. What do you think about the difference between the world the original Story of Film was born into, and the world today? It’s almost like a meteor storm, there’s simply more coming at us now than there was 10 years ago. And it’s harder, therefore, to work out what to watch and what will excite us. And then of course we have the option to watch it across so many more devices, and many more ways. Everything is a click away. It affects our appetite for new media. We feel full in a way that we didn’t feel full 10 years ago. And so that’s why, to be honest, curation is more valuable. And that’s why film festivals are more valuable than ever. And still, the medium is great. And its ability to transform or eliminate or open us up to the world is still there. Even amidst this media overload, it’s easy to miss that timeless quality. It’s easy to miss the fact that cinema can, this evening in your life and in mine, change us. The fact that we can feel overwhelmed by the experience of cinema is timeless. with Mark Cousins [導演訪問]

157

Director Mark Cousins Producer John Archer Cinematographer Mark Cousins Editor Timo Langer Sound Paul Wilson Production Hopscotch Films Sales Dogwoof

World

這是一部美麗而豐富的作品，特別對過往十年的轉變充滿啟示。你認為《電影史話》誕生的年代與現今世界有何不同？感覺像是流星暴──現在撲面而來的事情，比十年前更多，因此更難找出哪些電影該看和哪些好看。我們有更多渠道和方式選擇去看，點擊一下一切就在眼前。這影響我們對新媒介的渴求，現在的飽和感是十年前沒有的。因此坦白說，策展的角色更舉足輕重，電影節亦較以往彌足珍貴。當然，電影媒介依然重要，它為我們轉化、消除或開啟世界的能力不變。即使媒體資訊泛濫，電影超越時間的特質仍容易被忽略，忘記了電影能於一夕之間改變你與我的生命，以及震撼的觀影經驗是終身難忘的。過去十年間不少電影推出，你與剪接師從何說起？我盡量去看去讀。我常自問：「我有什麼不知道？」這是最好的問題，促使你去發掘更多。就算我不能即時去看一部曾聽聞的電影，我會把它記入長長的願望清單內，特別是我未曾聽過的導演，我會想知他／她更多。去發掘一個不認識的導演的作品及其觀點，正是我所求之一。我覺得 Twitter 極好，因為我在印度、阿拉伯國家、非洲、南美、日本以至中國都有不少追隨者，我常請他們為我提供資訊。 Mark COUSINS was born in 1965 in Belfast, Northern Ireland. He is a graduate of the University of Stirling in Scotland, where he studied film, media, and art. He is best known for his 15-hour documentary The Story of Film: An Odyssey 麥克卡辛斯 1965 年生於北愛爾蘭貝爾法斯特，在斯特寧大學修讀電影、媒體與藝術，身兼導演、作家及策展人。長達十五小時的《電影史話》是其最著名之作。 SELECTED FILMOGRAPHY 主要作品 2009 The First Movie 第一部電影 2011 The Story of Film: An Odyssey 電影史話 2013 A Story of Children and Film 兒童電影史話 2018 The Eyes of Orson Welles 奧遜威爾斯之眼 2018 Women Make Film 女人拍電影 2021 The Story of Film: A New Generation 新世紀電影史話 FILMMAKERS AND FILMMAKING 影人影事

KALEIDOSCOPE 五光十色 Fantastic Beats 奇幻青春

[導演的話] 本片既是有關「魚君」的電影，但又不盡是關於他，而是所有對一件事情狂烈熱愛的人。從小開始便熱愛，熱愛到成為人生的志向，我想將這股熱烈情感和魚君的人生哲學拍成電影。他是這麼單純的人，於是我邀請能年玲奈去飾演，她和魚君有很相似的地方，但我又很難用言語表達出來。我認為描繪魚君這個人，性別是否一樣、容貌是否相似並不重要，所以我更自由地去拍這部有關魚君的電影。

The Fish Tale Sakana no ko 美波的魚樂無窮

dramas.

159 FANTASTIC BEATS 奇幻青春 Japan 日本 2022 | Japanese | DCP | Colour | 139 min Director Okita Shuichi Producer Nishigaya Toshikazu, Nishimiya Yuki, Nishikawa Asako, Hino Chihiro Scriptwriter Okita Shuichi, Maeda Shiro Cinematographer Sasaki Yasuyuki Editor Yamazaki Azusa Production Designer Ataka Norifumi Music Pascals Sound Yamamoto Takaaki, Katsumata Sakura Cast Non, Yagira Yuya, Kaho, Isomura Hayato Production DJANGO-FILM World Sales Nikkatsu Corporation

沖田修一 1977 年生於日本埼玉，於日本大學藝術學部修讀電影。起初拍短片及編導電視劇， 2006 年拍成首部長片《美妙世界》。憑第三部長片《啄木鳥和雨》(11 ) 贏得第 24 屆東京電影節評審團特別獎。 SELECTED FILMOGRAPHY 主要作品 2009 The Chef of South Polar 南極料理人 2011 The Woodsman and the Rain 啄木鳥和雨 2012 A Story of Yonosuke 那年遇上世之介 2016 The Mohican Comes Home BAND 友愛回家 2020 One Summer Story 我的夏日大戀習

This film is based on the life of fish-expert Sakana-kun, but at the same time it’s about anyone who has an overwhelming passion. The passion was ignited in childhood and became a vocation. This film is my attempt to depict such passion and Sakana-kun’s way of life. This is such a pure personality so I asked Non to take the part. There’s an uncanny likeness between her and Sakana-kun but I don’t know how to put it into words. I’m convinced that gender and looks don’t matter in making this portrait of Sakana-kun. With that in mind I gave myself a free hand in this film. Okita Shuichi

OKITA Shuichi was born in Saitama, Japan in 1977 and studied film at the Nihon University College of Art. Prior to his feature film career, he made short films, wrote and directed TV He made his first feature What a Wonderful World in 2006. His third feature The Woodsman and the Rain (11) won the Special Jury Prize at the 24th Tokyo International Film Festival.

160 FANTASTIC BEATS 奇幻青春 2021 | Mandarin | DCP | Colour | 114 min Director Lou Yi-An Producer Kao Chun-Ting, Hsu Guo-Lun, Wang Shin-Hong Scriptwriter Lou Yi-An, Singing Chen Cinematographer Yang Fong-Ming Editor Chen Xiao-Uung, Lou Yi-An, Singing Chen Production Designer Tu Shuo-Feng Music WiFi, Hsu Chia-Wei, Flow, Tsai Chia-Ying Sound Sidney Hu Cast Joseph Huang, Mo Tzu-Yi, Wang Yu-Xuan, Huang Pei-Jia, Devin Pan Production Content Digital Film Co., Ltd., Seashore Image Productions World Sales Greener Grass Culture Co., Ltd. 導演樓一安監製高君亭、徐國倫、王興洪編劇樓一安、陳芯宜攝影楊豐銘剪接陳曉東、樓一安、陳芯宜美術涂碩峯音樂秦旭章、許家維、川流、蔡佳穎音響胡序嵩演員黃聖球、莫子儀、王渝萱、黃姵嘉、潘綱大Goddamned Asura 該死的阿修羅 I was inspired by journalist Hu Mu-Ching’s three articles about random killings. When I began writing the script, I kept contemplating why I had to write this story. What is sin? Who has not sinned? Who has never felt anger and lust? What kind of darkness devours us? What makes someone a complete person? Everyone – including myself – has a dark side; it’s only due to fate and fortune that many of us didn’t become what the media labels cold-blooded monsters. So, how does someone become cold-blooded? What drives someone who commits public random killings to such desperation? These six characters, hailing from three different social classes, are linked together by an act of random killing. Even though this case is an important turning point in the story, the dialectical system between the incident itself and the perpetrator/victim isn’t necessarily the core of what this film wants to discuss. What I want to see more is how each character faces the state of their respective lives before and after the incident. Some choose to sink deeper, and others find it impossible to go on. Yet, some do choose to change the course of fate. Lou Yi-An [導演的話] 受記者胡慕情寫的三篇關於隨機殺人的報導文學所啟發，我開始動筆撰寫劇本，也不斷思考，我為什麼要寫這個故事。什麼是罪？誰沒有罪？誰不曾有過憤怒與私慾？又是什麼樣的黑暗吞噬了我們？人，該怎樣才算得上一個完整的人？很多人都有黑暗的一面，包括我自己，就只因命運與偶然，最終沒有成為媒體眼中的冷血人魔。那麼，血又是怎麼冷卻的呢？一個隨機殺人犯又是如何走向絕望的呢？六個主要角色，分處於三個不同的階級，卻因一件隨機殺人案而連結在一起。這殺人案雖是故事重要的轉折點，然而事件本身與加害者／被害者的辯證體系未必是全片探討的意念核心。我更想看到的是，在事件前後他們面對各自人生的生命狀態；有人選擇沉陷，有人無以為繼，也有人選擇改變命運。 LOU Yi-An is a writer and director devoted to both the film and television industries. He has great regard for topics concerning local cultures, racial issues, and social problems caused by the class differences and the generation gaps. His first feature, A Place of One’s Own (2009), won the Audience Choice Award at Taipei Film Festival, among others. 樓一安從事電影及紀錄片創作多年，作品多關注中下階層及外來移民。2009 年執導首部劇情長片《一席之地》，獲台北電影節觀眾票選獎。次作《廢物》(13 ) 獲福岡亞洲電影節評審團大獎。 SELECTED FILMOGRAPHY 主要作品 2007 Waterfront Villa Bonita (short ) 水岸麗景（短片） 2009 A Place of One’s Own 一席之地 2013 The Losers 廢物 2015 White Lies, Black Lies 失控謊言 2021 Goddamned Asura 該死的阿修羅

Company World

Cinematographer

Music

Director

Interview with Paul Thomas Anderson [導演訪問]

保羅湯瑪士安德遜 1970 年生於美國加州，96 年執導首部劇情長片《賭國驚爆》，憑《一舉成名》( 97 )聲名大噪，並憑《人生交叉剔》(99 )奪得柏林影展金熊獎。其後以《私戀失調》(2002)、《黑金風雲》(07 )及《大師》(12 )分別贏得康城、柏林及威尼斯影展最佳導演獎。 SELECTED FILMOGRAPHY 主要作品 1997 Boogie Nights 一舉成名 1999 Magnolia 人生交叉剔 2002 Punch-Drunk Love 私戀失調 2007 There Will Be Blood 黑金風雲 2012 The Master 大師 2017 Phantom Thread 霓裳魅影

Sound

Producer

Universal

Paul Thomas Anderson Sara Murphy, Adam Somner, Paul Thomas Anderson Paul Thomas Anderson Michael Bauman,

After many months of banging my head against the wall trying to figure out what to name this film, I concluded that these two words shoved together reminded me the most of my childhood. Growing up, there was a record-store chain in Southern California called Licorice Pizza. It seemed like a catch-all for the feeling of the film. Cooper’s character is based on Gary Goetzman, who’s almost 20 years older than you. How much of a relationship do you have to this era? [...] Especially here in the [San Fernando] Valley, it’s stuck in its same old shit. It’s not like some massive gentrification happened. Certainly the details changed. Like anything 50 years later. But there aren’t any huge brushstrokes where it’s been some massive social upheaval. It’s more or less what it was. American Graffiti was obviously a big influence on you. What has your relationship been to that movie over the years? I’m still moved by it every time I go back to it. [...] It’s so compact. Normally when you have multi-stranded stories they tend to blossom and grow. […] There’s an economy there that’s so incredible.

Paul Thomas ANDERSON was born in California, USA in 1970. He directed his first feature film, Hard Eight, in 1996 and made his international breakthrough with Boogie Nights (97). Magnolia (99) was awarded the Golden Bear at the Berlinale in 2000. He has won Best Director Award at Cannes, Berlin and Venice.

Production

161 FANTASTIC BEATS 奇幻青春 USA/Canada 美國／加拿大 2021 | English | DCP | Colour | 134 min

Jonny Greenwood Christopher Scarabosio, David Acord

Editor

Cast Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper Ghoulardi Film Sales Pictures

International

Production

Scriptwriter

Licorice Pizza 甘草薄餅 What does the title Licorice Pizza mean?

Paul Thomas Anderson Andy Jurgensen Designer Florencia Martin

片名是什麼意思？費盡思量幾個月去想片名，最後敲定，這個名字令我回想起自己的童年。在我成長階段，南加州有一間連鎖唱片店，名字就叫「甘草薄餅」。這名字似乎包含了這影片的所有感覺。谷巴荷夫曼的角色原型是童星出身的加利哥斯曼，他差不多比你大二十歲。你和片中的時代有多大關聯？試想想，2015 年和 2011 年真有那麼大的分別嗎？其實並不。尤其是在我家鄉聖費爾南多谷這個地方，都是難以改變的老樣子。大規模仕紳化不似會發生。當然細節有變化，就像五十年後任何事物總有些改變。但沒有誰大筆一揮引起社會劇變，它仍是差不多那個模樣。《美國風情畫》顯然對你有很大影響。這些年來你和這部電影的關係是怎樣的？初看《美國風情畫》以為它就發生在聖費爾南多谷。每次重溫，我仍被它感動。通常當你有多線故事時，故事往往旁生枝節。《美國風情畫》卻是如此緊湊，能這樣言簡意賅真是非常出色。

162 FANTASTIC BEATS 奇幻青春 Japan 日本 2022 | Japanese | DCP | Colour | 107 min Director Jojo Hideo Producer Kubo Kazuaki Scriptwriter Imaizumi Rikiya, Jojo Hideo Cinematographer Watanabe Masaki Editor Jojo Hideo Production Designer Satosu Yukihisa Music Hayashi Guido Sound Yamamoto Takaaki, Susai Kota Cast Seto Koji, Sato Honami, Kawai Yumi, Nakujima Ayumu Production LEONE Co., Ltd. World Sales Toei Video

Love Nonetheless Ai Nanoni 無限制的愛 This film is a Japanese style romantic comedy, a funny story about love and sex. Jojo Hideo Love Nonetheless is one of a two-film collaboration between directors Jojo Hideo and Imaizumi Rikiya. Imaizumi wrote Love Nevertheless for Jojo, who reciprocated by writing The Cat Escaped for Imaizumi. Before writing their scripts they agreed that these films would be erotic movies carrying an R15+ rating (no admittance for persons under 15). This unpredictable and eventful romantic comedy weaves a web of one-way desire involving a bookstore owner, the high school student who wants to marry him, the woman he’s always loved, and her husband-to-be. This is a tale of troublesome love between lovelorn but lovable men and women, who become players in an exquisite symphony conducted by the charm of Imaizumi’s unique and incisive screenplay, and Jojo’s masterful direction. Grand Prix. He went on to direct over 100 V-cinema pink

titles including

works,

films, and theatrical features. 城定秀夫 1975 年生於東京。大學時期開始拍 8 米厘電影，畢業後以自由身擔任副導演，主要拍攝成人電影及錄影帶作品。 2003 年拍成導演首作《想入非非的人妻》，贏得粉紅電影大賞最佳新導演獎。其後拍攝逾百部作品，包括錄影帶、粉紅電影及在院線發行的長片。 SELECTED FILMOGRAPHY 主要作品 2008 Deco Truck Gal Nami 暴走卡車少女奈美 2015 The Secret Game of the Immoral Wife 悅樂交差點 2020 Dangerous Drugs of Sex 性之劇藥 2022 Love Nonetheless 無限制的愛 2022 Believers 世外桃源 Persons Aged 18 and Above Only 只准18歲或以上人士

[導演的話] 這是一部日式浪漫喜劇，是一個關於愛與性的有趣故事。 [簡介] 本片為城定秀夫和今泉力哉合作的兩部電影之一，今泉為城定寫《無限制的愛》劇本，城定則為今泉寫《貓貓跑掉了》劇本。寫劇本時，只有要寫成 R15 +（15 歲以下人士不准觀看）影片的前提，要有相當的色情成分。由城定執導、今泉編劇的《無限制的愛》是一部出人意料、劇情豐富的浪漫喜劇。書店老闆、想要嫁給他的女高中生、他一直愛慕的女人和她的未婚夫，眾人單向的慾望在電影裏交織。今泉尖銳的劇本，加上城定傑出的導技，令本片中失戀但同時被愛的男男女女演奏出精妙的愛之歌，譜寫出這個麻煩不斷的愛情故事。 JOJO Hideo was born in Tokyo in 1975. After graduating, he forged a career as a freelance assistant director working mainly on adult films and V-cinema works. His 2003 debut Oshiire won him a Best Newcomer Award at the Pink

163 FANTASTIC BEATS 奇幻青春 Japan 日本 2022 | Japanese | DCP | Colour | 128 min Director Hiroki Ryuichi Producer Kitajima Naoaki Scriptwriter Kataoka Sho Cinematographer Nabeshima Atsuhiro Editor Nomoto Minoru Production Designer Maruo Tomoyuki Music Otomo Yoshihide Cast Fujiwara Tatsuya, Matsuyama Kenichi, Ryunosuke Kamiki Production CREDEUS Inc. World Sales Nippon Television Network Corporation Noise Noizu 豬狩島殺人事件 Who is the “noise”? What noise is also differs with each individual, and anyone could become the noise to others. The implication isn’t entirely negative and something exciting might come out it. This story isn’t a whodunnit as the perpetrator is already known early on. A crime is committed and the evil that emerges keeps on spreading. How would it spread? What would ultimately happen? I’m fascinated with these questions. Hiroki Ryuichi The film is based on the manga by Tsutsui Tetsuya. Who picked it?

廣木隆一

年生於日本福島縣，高中畢業後到東京的法國雅典學校修讀電影技術和美學，受新美國電影影響， 79 年起擔任助導。82 年首次執導拍情慾片《性虐》，後憑《單程雙跑》(94 )、《一路搞搞震》(2003) 等作品受到日本及海外的廣泛認可。 SELECTED FILMOGRAPHY 主要作品 1999 Night Without Angel 沒有天使的一夜 2000 Tokyo Trash Baby 東京垃圾女郎 2009 April Bride 生命最後一個月的花嫁 2014 Kabukicho Love Hotel 歌舞伎町 24 小時時鐘酒店 2022 Noise 豬狩島殺人事件

Hiroki: Indeed, Japan feels like such an island. I knew if a suitable location could be found for the finished screenplay, the film would go very well. Interview with producer Kitajima Naoaki and director Hiroki Ryuichi Exposed Woman before moving on to more mainstream films such as Sadistic City (94). 800 Two Lap Runners (94) was selected to screen at Berlinale, where he began to earn international accolades, followed by Vibrator (2003) and It’s Only Talk (06). 1954

Kitajima: Me. Mr. Hiroki was looking for something with suspense, so he asked me to find something for him. I recalled his enthusiasm for Three Billboards Outside Ebbing, Missouri. In his opinion, our social media society nowadays is a very secluded one. People simply gang up on someone because of some piecemeal information, and they haven’t even met this person. In the film, such behaviour takes place at an actual place, a secluded island, and such a setting is going on focus the spectators’ attention on the acting.

[導演的話] 到底誰是「噪音」？何謂噪音因人而異，任何人也可能成為別人眼中的噪音。這不一定是壞的意思，也會有刺激的可能。本片不是查出誰是犯人的故事，因為一開始就知道是誰。發生了一宗罪行，由之衍生的惡念不斷蔓延。我對這股惡念如何蔓延，會達致什麼境地感到很有興趣。 [監製及導演訪問] 是誰決定拍這本原著的？北島直明（監製）：是導演讓我挑選的。他在尋找懸疑主題的故事，加上他以前向我讚賞過《廣告牌殺人事件》這部電影。他認為我們現在的社交媒體社會，其實是非常封閉的，人們只憑片面的表象，便一起炮轟自己連見都未見過的人，這個故事更是在實際存在的地方不斷加劇這種行為。故事在與世隔絕的小島發生，會令觀眾目不轉睛注視演員的演技。廣木隆一：故事發生在封閉的社會，就很有今天日本的感覺。只要寫好劇本後找到適合的地方，這部影片就可以拍得很順利。 HIROKI Ryuichi was born in Fukushima in 1954. He made his directorial debut with the 1982 pink film Sexual Abuse!

164 FANTASTIC BEATS 奇幻青春 2021 | Thai/English | DCP | Colour | 136 min Director Baz Poonpiriya Producer Wong Kar Wai Scriptwriter Baz Poonpiriya, Nottapon Boonprakob, Puangsoi Aksornsawang Cinematographer Phaklao Jiraungkoonkun Editor Chonlasit Upanigkit Production Designer Patchara Lertkai Music Vichaya Vatanasapt Sound Traithep Wongpaiboon, Narubett Peamyai, Warat Prasertlap, Varut Opaswatanakul Cast Tor Thanapob, Ice Natara, Ploi Horwang, Noon Siraphun, Violette Wautier, Aokbab Chutimon Production Jet Tone Films Ltd., Houseton World Sales Block 2 Distribution One for the Road 一杯上路 As a movie director, one thing I didn't have the chance to do on my first two films was explore my true self and transpose it into the films’ narratives. But after three years working under the guidance of Mr. Wong Kar Wai, it now feels like One for the Road is the first time that I can apply my own voice and feelings through this medium. It is a chance for me to turn the filmmaking process into therapy, as this movie is about my own experiences and perceptions of life, work, love and Evenrelationships.thoughit is a personal project for me, I hope this movie can connect with audiences around the world with the international language of storytelling and the universal feeling of human Thankemotions.you all so much for hopping on board with us, and I really hope that you will enjoy the journey of the movie. Baz Poonpiriya [導演的話] 我很遺憾在頭兩部電影，無法探索自我，再將之化成電影敘事的一部分。猶幸得到王家衛先生三年來的提點，我終於可以憑本片表達自己的聲音，透過電影媒介去感受。這次更讓我能夠把拍電影當成療傷，因為本片源自親身經歷，還有我對人生、愛及人際關係的觀感。縱使本片很個人，我仍盼望全世界觀眾都有共鳴，因為講故事及人類情感本來無分國界。感謝大家一同上路，祝各位在這趟電影旅程愉快。 Baz POONPIRIYA studied stage directing in Thailand. After studying graphic design in New York, he returned to Thailand and directed music videos prior to making his first feature film, the 2012 horror movie Countdown. His second feature Bad Genius, shot in 2017, opened to great acclaim and was a box office hit across Asia. 納塔屈彭皮里亞泰國新銳導演。先於泰國主修舞台導演，後赴紐約修讀平面設計。2011 年回泰國，擔任 MV 導演，12 年拍攝首作《奪命倒數夜》。第二部長片《出貓特攻隊》( 17 ) 大受歡迎，於亞洲多個國家成為票房大熱。 SELECTED FILMOGRAPHY 主要作品 2012 Countdown 奪命倒數夜 2017 Bad Genius 出貓特攻隊 2021 One for the Road 一杯上路

[導演的話] 我認為火葬，是為了讓活人見到先人遺骨，繼而接受逝者已矣而做的儀式。眼前的骨灰，證明了先人的肉身已不存在、已經離開這個世界的殘酷現實。這想法雖然怪誕，但我們卻很珍重。日本多天災，除了十年前的大地震及海嘯，每年不少人因颱風、洪水、山泥傾瀉等災害而去世。總有人因為摯親突然死去，心中激起無路訴的怒火。我們就是在隨時可以死去的陰影下活着。生與死之間，其實沒有一條明確的界線，可能就如天空從藍色變成紫色那麼曖昧的時間，佛教中，「牟呼栗多」這個時間單位很適合形容生死之間的時間。河畔的公寓，就住着面對過摯愛死去的人們。不介意自己幾時死去的主角，有這些自暴自棄但有人情味的人做他的鄰居，令他感受到一點小確幸。即使他們不是他朋友或家人，仍能感到自己絕不孤單。 OGIGAMI Naoko was born in 1972 in Chiba Prefecture, Japan. She went to the graduate school of University of Southern California, school of Cinema-Television in 1994 to study film. Her directorial debut Yoshino’s Barber Shop (2004) received a Special Mention

165 FANTASTIC BEATS 奇幻青春 Japan 日本 2021 | Japanese | DCP | Colour | 121 min Director Ogigami Naoko Producer Nozoe Ryoko, Nagai Takuro, Hori Shintaro Scriptwriter Ogigami Naoko Cinematographer Ando Hiroki Editor Fushima Shinichi Production Designer Tomita Mayumi Music Pascals Sound Segawa Toshio, Okawara Masaru Cast Matsuyama Kenichi, Muro Tsuyoshi, Mitsushima Hikari Production Riki Project World Sales Kadokawa Corporation

Riverside Mukolitta Kawapperi Mukolitta

Close-Knit 荻上直子 1972 年生於日本千葉縣，大學畢業後於 94 年進入南加州大學研究所攻讀電影製作。初執導筒即以《吉野理髮之家》(2004) 贏得柏林影展兒童電影特別獎。其後接連拍出《海鷗食堂》( 06 )、《日光‧小島‧眼鏡女》(07) 等票房、口碑雙贏的小品佳作。 17 年以《當他們認真編織時》獲柏林影展泰迪熊評審團獎。 SELECTED FILMOGRAPHY 主要作品 2004 Yoshino’s Barber Shop 吉野理髮之家 2006 Kamome Diner 海鷗食堂 2012 Rent-a-Cat 盛女出租貓 2017 Close-Knit 當他們認真編織時 2021 Riverside Mukolitta 河畔小時光

河畔小時光 To me, cremation is a ceremony to make the living look at the remains of the departed. The bones before your eyes show once and for all that your loved one no longer has a body and has left this world. You are confronted with this brutal fact and must move on. This is a grotesque view but it is something we’ve been cherishing. Japan is a country prone to natural disasters. Apart from that catastrophic earthquake and tsunami that caused a huge death toll, every year many Japanese died because of typhoons, floods or landslides. There must be many people who have been struck by the untimely death of a loved one, and are tormented by immitigable anger. And we’re living under the provision that we could die at any moment. The boundary between life and death isn’t as clear cut as we hope it might be. It might as well be the time when the sky turns from blue to purple. Muh rta, a Buddhist unit of time, is an apt analogy for the time between life and death. This riverside apartment has occupants who have been struck by the death of their loved ones. The protagonist, who doesn’t care when his time is up, moves into this apartment and these affectionate dropouts give him glimpses of happiness. They aren’t his friends or family but in their presence, he’ll never be lonely. Ogigami Naoko at Kinderfilmfest at Berlinale. In 2017, she won the Teddy Jury Award at Berlinale for her film

KALEIDOSCOPE 五光十色 Animation Unlimited 超人氣動畫

The two offer recompense to the defeated by telling their stories, and this film offers the same to them in kind, while also affirming those who go unrewarded for living according to their beliefs. Perhaps, like OOPArts, Inu-oh and Tomona’s music really did exist.

There are many stories we don’t know, but through this film, you can bear witness to theirs.

167 ANIMATION UNLIMITED 超人氣動畫 Japan / China 日本／中國 2021 | Japanese | DCP | Colour | 97 min Director Yuasa Masaaki Producer Choi Eun-young, Takeuchi Fumie Scriptwriter Nogi Akiko Cinematographer Sekiya Yoshihiro Editor Hirose Kiyoshi Production Designer Nakamura Hideki Music Otomo Yoshihide Sound Kimura Eriko Voice Cast Avu-chan, Moriyama Mirai, Emoto Tasuku Production Science SARU World Sales Asmik Ace

Yuasa Masaaki [導演的話]

Inu-oh 犬王 A performer named Inu-oh really existed 600 years ago; he shook the world but left nary a trace. Author Furukawa Hideo, giving him a partner in Tomona, retold his story as one of two young men who defy fate to forge their own destinies. Yet it is a story of life today, whether to align with fate and fashion to seize glory, or forgo reward to live according to your beliefs.

一位名叫犬王的表演者，在六百年前確實存在；他曾震驚世界，卻沒有留下痕跡。作家古川日出男在小說重塑他的故事，為他帶來一位同伴，刻劃兩個年輕男子如何對抗命運、自創命途。不過，這也是一個現代生命的故事──究竟安於天命、追求榮譽，抑或擁抱信念、捨名利而活。他倆的故事為失敗者帶來慰藉，此片意念亦如出一轍，對那些抱持信念、不為爭名逐利而活的人予以肯定。或許，就像 OOPArts，犬王與友魚的音樂確實存在。很多故事我們不會知道，但透過此片，你可以為他們的故事作見證。 YUASA Masaaki was born in 1965 in Fukuoka prefecture, Japan. He earned his credits as a key animator on the popular television series Chibi Maruko-chan. He made his featurelength debut in 2004 with Mind Game. His film Lu Over the Wall (17) won the Crystal for Best Feature Film at Annecy International Animated Film Festival. 湯淺政明 1965 年生於日本福岡縣。畢業於九州產業大學美術系，曾擔任《蠟筆小新》的作畫監督，《心靈遊戲》(2004) 為首部執導的動畫長片。17 年憑《宣告黎明的人魚之歌》勇奪安錫國際動畫電影節最佳動畫長片。 SELECTED FILMOGRAPHY 主要作品 2004 Mind Game 心靈遊戲 2017 Lu Over the Wall 宣告黎明的人魚之歌 2017 Night is Short, Walk on Girl 夜短夢長，少女前進吧！ 2019 Ride Your Wave 浪尖上的約定 2021 Inu-oh 犬王

The Island is a musical, an animation, and a cross-genre film. Postmodern is a key word, as the elements, images, and art references used will get a different interpretation and a new reading. The narrative pulse is linked to the animation and is meant to flow as a Thepoem.characters are archetypes: (new) Robinson, Friday, the NGO woman/Mermaid, Mary (Robinson’s mother and also Friday’s mother eventually), the Pirates, Grandma alias Mother-Nature. These characters having a surreal look, half-real, half-imaginary, emphasizes both the “surreal” impression and the lightness of a coloured and entertaining cinematographic show simultaneously. In a Monty Python style, this visual metonymy will create a gap revealing the drama of the contemporary world through laughter. Robinson and Friday are in fact two faces of the same character, of the same human being, which are somehow opposed, one contemplating and passive, the other one active, yet both searching for a meaning in life. […] A very important layer of this movie is the (absurd) humour, contained in the songs already, but we try to enhance it in the characters’ actions as well. Anca Damian

[導演的話] 這是一部音樂劇、動畫和跨類型電影。後現代是關鍵詞，因為運用的元素、影像和藝術上的參考，將得到截然不同的新解讀。敘事節奏連繫着動畫，意在如詩一般流動。角色各有原型：（新）羅賓遜、星期五、非政府組織的女子／美人魚，瑪莉（羅賓遜的母親，也是星期五的母親）、海盜、祖母（又名大地之母）。這些角色有超現實的外貌，半真實半虛構，同時強調「超現實」印象，以及彩色具娛樂性電影的輕盈。借用「踎低噴飯」的風格，這種視覺轉喻將創造出一個縫隙，透過笑聲揭示當代世界的戲劇性。（新）羅賓遜是離群索居的人，他曾是醫生，是個對他人不幸相當敏感的理想主義者。他嘗試幫助有需要的人和難民，卻因社會規條而被迫放棄。星期五則是難民，乘船從非洲偷渡到意大利時遇險，他是船上唯一倖存者。羅賓遜和星期五實際上是一體兩面，又是某程度上相反，一個沉思和被動，一個主動，但他們都在尋找生命的意義。這部電影非常重要的一面，是它的（荒誕）幽默，已經包含在歌曲裏，而我們亦嘗試在角色的行動中將之增強。 Anca DAMIAN was born in Cluj-Napoca, Romania in 1962. She received a doctorate in Film from Academy of Theatre and Film Arts in Bucharest. Her live-action and animated features have screened at numerous festivals, including Busan, Locarno, and Karlovy Vary. 安加戴美安 1962 年生於羅馬尼亞克盧日納波卡市。畢業於布加勒斯特的戲劇及電影學院，取得電影博士學位，曾任電影攝影師、紀錄片編導及監製。2008 年執導首部長片《交錯約會》。導演作品曾在世界各大影展放映，包括釜山電影節、羅迦諾電影節等。 SELECTED FILMOGRAPHY 主要作品 2011 Crulic – The Path to Beyond 兔子的日落大道 2013 A Very Unsettled Summer 夏天囉囉攣 2015 The Magic Mountain 唐吉訶德闖魔山 2019 Marona’s Fantastic Tale 小狗九的三宅一生 2022 The Island 魯賓遜漂流記：當代激情篇

The Island 魯賓遜漂流記：當代激情篇

168 ANIMATION UNLIMITED 超人氣動畫 Romania/France/Belgium 羅馬尼亞／法國／比利時 2022 | English | DCP | Colour | 85 min Director Anca Damian Producer Anca Damian Scriptwriter Anca Damian, Augusto Zanovello Editor Dana Bunescu Production Designer Gina Thorstensen Music Alexander B l nescu, Ada Milea Sound Gert Janssen Production Aparte Film World Sales Best Friend Forever

169 ANIMATION UNLIMITED 超人氣動畫 USA 美國 2021 | DCP | Colour | 84 min Director Phil Tippett Producer Phil Tippett Scriptwriter Phil Tippett Cinematographer Chris Morley, Phil Tippett Editor Ken Rogerson, Michael Cavanaugh Production Designer Phil Tippett Music Dan Wool Sound Richard Beggs Production Tippett Studio World Sales Ultra 8 Pictures

Mad God 瘋神 Mad God kind of defies description. I look at it like creating a narrative that the audience members themselves will complete. All the objects are very understandable in terms of our everyday experience, but they’re put together in a way that’s kind of broken and reconfigured. I wouldn’t call it surrealistic, more like using an unconscious frame of reference to build things. The final form of Mad God is the memory of it after you watch it, like waking up and exploring the memory of a dream you just had. That’s what the experience really is. Not the film itself, the film is just a way to get Athere.lotof the ideas are stolen from dreams. The imagery of Mad God isn’t futuristic. It’s iconic. We all have these things in our collective heads, it’s just a matter of how each person’s mind chooses to put them together. None of the actual imagery comes from a specific dream, but the whole thing is influenced by that kind of human experience. Mad God works within a very limited structure, but for me it’s important that the project not be ruled by intention. I’m letting the work tell me what it wants to be. I’m like an abbot in the church of Mad God, and I just do what the deity tells me.

[導演的話] 本片實在很難用言語描述，我的目的較像為觀眾製造敘事，留待觀眾完成。拍攝的物件是日常所見，大家明瞭它們的意義，但我把它們打碎及重整。我覺得算不上超現實，較像是用一個無意識的框架去建構事情。《瘋神》的最後形態，應是你看完之後對它的回憶，就如你一覺醒來，回想剛發過的夢。這才是本片的真正體驗，影片只是達致這體驗的途徑。人類不斷從夢境偷取意念，《瘋神》的意象並非未來式，而是聖像式。這些東西都存在於集體意識中，只是不同人的頭腦會用不同方法組織。本片沒有一個意象是從某一個夢境而來，但總體意念是受那種人類體驗影響所得。《瘋神》的結構非常嚴密，但我明白不能太有企圖心。我讓作品告訴我它想成為什麼，我就如本片中的一個修士，做着神明叫我做的事而已。

Phil TIPPETT

is one of the most influential visual effects artists of all time. He began his career in George Lucas’ original Star Wars (1977). Specialising in stop-motion and practical effects, he won an Academy Award for Jurassic Park (93), and his iconic effects work can be seen in RoboCop (87), Starship Troopers (97), Twilight (2008), and many more. Mad God marks his directorial feature debut. 菲爾堤帕特 1951 年生於美國，視覺特技大師，參與佐治魯卡斯《星球大戰》( 77 ) 而入行。他的專門是定格特技及實物特技，並憑《侏羅紀公園》(93 ) 奪得奧斯卡最佳視覺效果獎。參與作品包括《鐵甲威龍》( 87)、《星河戰隊》(97 ) 等，《瘋神》是他首部長篇導演作品。 SELECTED FILMOGRAPHY 主要作品 1985 Prehistoric Beast (short) 史前巨獸（短片） 2010 MutantLand ( short) 異形世界（短片） 2021 Mad God 瘋神 Persons Aged 18 and Above Only 只准18歲或以上人士

Phil Tippett

I felt that I needed more time and experience to tackle a subject that goes so far beyond my own experience and knowledge, namely the failure of utopias, the fall of our civilization, the end of humanity…. But the vision of the fallen city intrigued me. After all, I am one of its citizens. Marta Pajek

170 ANIMATION UNLIMITED 超人氣動畫 World Animation 世界動畫精選 In its hybrid form, Zoon combines techniques of stop-motion, puppetry and 2D. The axolotl puppets were formed out of plasticine and were animated frame by frame, whereas other puppets were marionetted in real time in front of the camera. Later, the faces, hands and feet were digitally drawn by hand. [簡介] 影片混合了定格動畫、木偶及2D 的技巧。美西螈木偶由代用黏土製成，逐格拍攝，而其他木偶在鏡頭前實時拍攝。臉及手腳其後以數碼繪畫。背景採用3D、建構背景的相片及畫作。 The Fourth Wall Divare Chaharom 男孩的魔幻廚房 Zoon 小森肥一族 Impossible Figures and other stories I 末日冷酷異境 Anxious Body 不安之體 Dir: Mahboobeh Kalaee Iran 伊朗 2021 DCP /Online Colour 10min Dir: Jonatan Schwenk Germany 德國 2022 DCP/Online Colour 4min Dir: Marta Pajek Poland/Canada 波蘭／加拿大 2021 DCP/Online B&W 16min Dir: Mizushiri Yoriko France/Japan 法國／日本 2021 DCP/Online Colour 6min Mahboobeh KALAEE was born in 1992 in Iran. She holds a BA in Industrial Design from the Tehran College of Fine Arts, and an MA in Animation Directing at Tehran University of Art. The Fourth Wall was her graduation project. 瑪寶芭嘉麗 1992 年生於伊朗，於德黑蘭藝術學院取得工業設計學士，並於德黑蘭藝術大學獲動畫導演碩士學位。《男孩的魔幻廚房》是其畢業作。 Jonatan SCHWENK was born in Germany in 1987, and graduated from University of Art and Design in Offenbach. His animated short Sog (17) received nearly 40 awards and mentions. Selected filmography: Sisyphos Blues (09), Maison Sonore (11), Sog (17). 祖納坦施雲 1987 年生於德國，畢業於奧芬巴赫藝術及設計大學。動畫短片《沼澤》(2017) 獲近 40 個國際影展獎頂。導演短片有《西西弗斯的憂鬱》(09 )、《噪音之家》(11 )、《沼澤》(17)等。 Marta PAJEK is an award-winning Polish animator. A graduate of the Academy of Fine Arts in Krakow, she studied at the Animated Film Studio. Impossible Figures and other stories I is the final film (and first part) of her trilogy. 瑪塔帕傑是波蘭動畫導演，畢業於克拉科夫藝術學院，就讀動畫工作室。《末日冷酷異境》是其三部曲的最後一部，也是三部曲的開首。 MIZUSHIRI Yoriko was born in 1984. She graduated from Joshibi University of Art and Design in Japan, and garnered awards at Berlinale, Annecy and Zagreb with the trilogy Futon (12), Snow Hut (13), and Veil (14). 水尻自子生於 1984 年，畢業於日本女子美術大學。她的三部曲：《蒲團》( 12)、《雪廬》(13 ) 及《面紗》(14 ) 屢於國際動畫電影節獲獎。 Our body feels something and becomes anxious, and because it is anxious, it wants to feel something. […] Textures, shapes, the touches that are felt. All kinds of associations are brought up and mixed together without boundaries. And our body feels uneasy again, delicately and sensuously. My film has a clear experimental structure that is close to the essay film. Because I made it in a kitchen that we use, so there are many personal aspects in the space of the film. The film is about family and the interpersonal relationships that are made up in the character’s subconscious. Mahboobeh Kalaee

[簡介] 身體接觸，感到不安；因為不安，所以接觸。質地、形狀，所觸所感。勾喚各種聯繫，混和不分界線。身體在感官上，微妙地又再感到不安。 [導演的話] 我的短片有一個清晰的實驗結構，近似「論文電影」。因為我在自家的廚房創作，所以電影中有不少個人元素。影片是關於主角潛意識內的家庭與人際關係。 [導演的話] 我覺得需要更多時間和經驗，去處理一個超越自身經歷和知識的課題，即烏托邦的失敗、文明的墮落、人性的終結。要探索此主題，近乎傲慢。但傾覆之城的想像令我着迷。畢竟，我是其公民之一。

WONG Weng-chon is a post-90s director from Macau. He graduated from the Shih Chien University Department of Communication Design. His short film Wong, Bitter Gourd was selected by Animafest Zagreb student film competition and the Taipei Film Festival in 2019. 黃榮俊澳門 90 後導演，畢業於實踐大學媒體傳達設計學系。動畫作品《黃苦瓜》曾入選薩格勒布國際動畫電影節及台北電影節等。

Yano Honami I tried to explore the fear that comes to me whenever I spend time with my grandma. After taking a moment to think about our relationship, I enjoyed organising my thoughts around these ideas to make a short film.

[導演的話] 我曾見到海豹被沉在海底的購物車困住的影像，自己彷彿也被那畫面糾纏。這觸發我的創作起點：那總在生活中相遇的愛與文明，兩者都給不起自己所承諾的美好。 [導演的話] 成年後，我反思兒時經歷，決定直面父親火化骨頭與彈藥庫的聯繫。回憶滿是故鄉小島的風光及海洋，大自然的寧靜與嚴酷相隨。影像概念是以點描呈現回憶，把自然景致與童年記憶糅合一起。 [導演的話] 我想探索與祖母在一起時感到的恐懼。當我靜下來想想我們的關係時，想像將意念拍成短片，便感到興奮。這過程未必讓我找到答案，但仍有建設性。 WU De-Chuen was born in 1968 in Taiwan, and graduated from NYC School of Visual Arts. The Magical Tracing (2021) won Golden Horse Awards Best Animation Shorts. Selected filmography: A Piece of Cake (10), Unknown Memory (14). 吳德淳 1968 年生於台灣，於美國紐約大學視覺藝術研究所畢業。《海角天涯》(2021 ) 獲金馬獎最佳動畫短片。其他導演短片有《簡單作業》( 10 )、《荒城之月》(14)。

Dir: Yano Honami Japan 日本 2021 DCP /Online Colour 10min

was born

Wu De-Chuen Reflecting on this experience as an adult, I decided to confront the connection between my father’s bones and the ammunition dump. […]

YANO Honami in 1991 in Japan. After graduation from Tokyo University of the Arts, Graduate School of Film and New Media, she worked in the school as a researcher assistant for three years. A Bite of Bone is her first short film after graduation. 矢野保奈美 1991 年生於日本。於東京藝術大學電影及新媒體研究所畢業後，於該校擔任研究助理三年。《骨嚙》是其畢業後首部短片。

171 ANIMATION UNLIMITED 超人氣動畫 World Animation 世界動畫精選 Alice on the Beach 當鯨魚游上沙灘 A Bite of Bone Honekami 骨嚙 Mui 梅婆

The visual concept of this project is to synthesize natural landscapes and childhood memories by presenting memory as a collection of points.

Dir: Wu De Chuen No dialogue 無對白 2022 DCP/Online Colour 11min

Dir: Wong Weng chon Cantonese 粵語 2021 DCP/Online Colour 8min

I once saw an image of a seal trapped by a shopping cart at the bottom of the sea. As if I am also entangled, the vision inspires my film: the love and civilisation we encounter in life, are never as good and beautiful as our own commitment.

Wong Weng-chon

Arts

)、《奧嘉的鑽石》(

)、《藍調心房》(

Špela

Poland,

其他作品包括《小小黑正方》(

short film A Blue Room was premiered at Cannes. Selected filmography: Little Black Square (07), A Blue Room (14), Olga’s Diamond (19). 湯馬士西文斯基生於 1982 年，畢業於波蘭克拉科夫藝術學院，主修繪畫及動畫。短片《藍調心房》(

and

172 ANIMATION UNLIMITED 超人氣動畫 World Animation for Adults 成人動畫精選 In this film, I want to tell a story about a complex mother who loves but hates her own child in the same time. I want to explore this conflict and subtle emotions embedded in this mother’s mind. In terms of the visual part, I want to explore the different textures between stop motion constructed by real world materials and 3D animation constructed by virtual elements. Zhou Shengwei [導演的話] 我想說關於一位複雜母親對孩子既愛且恨的故事，想探索她內心的矛盾掙扎和含蓄情惑。在影像方面，我以真實材料構造定格動畫，及以虛擬元素塑造3D 動畫，從而探索兩者的不同質感，並透過對比，喚起觀眾的綜合感覺。 Steakhouse 爆夫妻 Perfect City: The Mother 完美之城：媽媽 Love in Times of Coal-Based Economy 愛在煤炭燃燒時 Dir: Špela adež Slovenia /Germany /France 斯洛文尼亞／德國／法國 2021 DCP Colour 10min Dir: Zhou Shengwei USA/China 美國／中國 2022 DCP Colour 12min Dir: Tomasz Siwi ski Poland /Croatia 波蘭／克羅地亞 2021 DCP Colour 12min Špela ADEŽ was born in 1977 in Ljubljana, Slovenia. She is an animation director and co-founder of Finta Studio in Ljubljana. Her films have received many awards at festivals worldwide. Selected filmography: Lovesick (07), Nighthawk (16). 史佩拉卡德絲 1977 年生於斯洛文尼亞盧布爾雅那，是動畫導演及盧布爾雅那的芬達工作室創辦人。其影片在國際影展共獲百多個獎項。導演主要作品有《相思》( 07)、《夜鷹》(16 )等。

artist. His films and animations have won over 100 festival awards and exhibition selections. Selected filmography: SHe(18), Art Is Dead (20), Let’s Fall In Love (21). 周聖崴生於 1991 年，是多媒體導演及 VR 藝術家。其電影及動畫榮獲百多個國際影展獎項。導演動畫長片有《女／他》( 18)、《藝術已死》(20 ) 及短片《我們戀愛吧》(21)。

studied painting and animation. His

[導演的話] 在此短片，我探索在一屋之內的家庭糾紛這具挑戰性的題材。心理暴力是看不見的，隱藏於我們之中，無形無相，只以最恐怖的形式呈現出來。這題材讓我繼續探索多面拼貼的技巧，以表達夫妻之間恍如幻象的轉變。 [簡介] 年輕煤礦工人瘋狂愛上操作吊機的美麗女郎。熾熱的愛令他不畏嚴寒，狂飆的慾望引領他穿越冰雪。一對戀人毫不察覺氣候暖化及過量碳排放的惡果已欺身而至，人類的愛與死將無法倖免於難。

)。

award winning multi-media

Tomasz SIWI SKI was born in 1982. He graduated from Academy of Fine in Krakow, where he 2014 14) 於康城影展世界首映， 07 14 19 In my new short animated film Steakhouse I address the challenging topic of dispute resolution between four walls. Psychological violence is something invisible. It remains hidden among us, seldom leaves the anonymity and appears in the open only in its most terrible form. adež A young coal loader is madly in love with a beautiful crane operator. The heat of his love will not let him freeze while he trudges through snow drifts guided by wild desire. Our hero and heroine, still totally unaware of global warming and excessive CO2 emissions, will play their parts in a human comedy of love and death.

ZHOU Shengwei was born in 1991. He an director VR

Renee ZHAN is a Chinese-American director and animator from Houston, Texas. She earned her BA at Harvard University and her MA at the National Film and Television School. Her 2020 work O Black Hole! has been to international film festivals. Selected filmography: Pidge (14), Hold Me (Ca Caw Ca Caw) (16). 2020)

入選多個國際電影節，其他作品包括《鴿子皮治》( 14)、《抱緊我（卡哥卡哥）》( 16)。 JOUNG Yumi was born in South Korea in 1981. She studied Fine Arts at Kookmin University, and Animation Directing at Korean Academy of Film Arts. Her short films, including Dust Kid (09), Math Test (10) and Love Games (13) have received multiple awards at various international film festivals. 鄭有美 1981 年生於南韓，畢業於國民大學藝術系及韓國電影藝術學院動畫導演系。其短片《灰塵小子》(09 )、《數學測驗》( 10 ) 及《愛情遊戲》(13 ) 在各大國際影展屢獲殊榮。 Nieto is a Paris-based mixed-media artist who excels as a painter, animator, designer, live action director, performer and established opera director. Selected filmography: Carlitopolis (06), Prof. Nieto Show (07). 尼托以巴黎為創作基地，是混合媒體藝術家，身兼畫家、動畫師、設計師、動作片導演、表演者及歌劇導演。導演短片有《實驗室老鼠受難記》 (06)、《瘋狂博士生物課》 (07 )等。

詹渃瀾是美籍華裔導演，生於美國德州侯斯頓。畢業於哈佛大學，並於國立電影電視學院獲碩士學位。《噢，黑洞！》(

Joung Yumi

173 ANIMATION UNLIMITED 超人氣動畫 World Animation for Adults 成人動畫精選 Under the Skin, the Bark Sous la peau, l’écorce 面譜修理員 Dir: Franck Dion France 法國 2021 DCP Colour 9min Franck DION is a director and illustrator. Since 2003, he has directed the critically acclaimed animated short films Mister Cok (09) Edmond Was a Donkey (12) as well as The Head Vanishes, for which he received the Annecy International Animation Film Festival prize for short films in 2016. 法蘭克迪安身兼導演及插畫師。自 2003 年起投入短片創作，《曲先生》(09 ) 及《艾蒙是頭驢》(12) 等廣受稱頌，《首級消失》 ( 16) 更榮獲法國安錫國際動畫影展最佳動畫片。 This highly personal film finds an echo with the painful experience of depression I went through two years ago… Battered and bruised by his sense of illegitimacy, the main character manages to escape from the bad role he is in and construct another one that is better suited to the depths of his nature. Frank Dion [導演的話] 這部非常個人的短片映照我兩年前患上抑鬱症的痛苦經驗，製作終結亦代表了我漫長康復過程的完成。雖然被塵埃與黑暗佔據，但故事仍走向光明。主角飽受非法身份的摧殘，試圖逃離壞角色，建構另一個更符合其本質的形象。 [簡介] 一對前度戀人在火車站偶然重遇。 [導演的話] 屋子是人心的隱喻。我們正值一刻，以為永恆不變的事物來到終結，其過程之痛，猶如自己化為碎片。然而，在絕望的餘燼之中，我們卻發現了最值得珍重的東西。 [簡介] 一個遺落在滿洲國叢林中的孩子，經歷了一場驚天動地的腥風血雨。他的突然出現令本來秩序井然的動物原始世界，掀起一片混亂。 Soft Animals 慾望號月台 House of Existence Jon-jae-ui Jib 存在之寓 Swallow the Universe 吞噬宇宙 Dir: Renee Zhan UK 英國 2021 DCP Colour 3min Dir: Joung Yumi South Korea 南韓 2022 DCP B&W 9min Dir: FranceNieto法國 2021 DCP Colour 12min Two ex-lovers bump into each other at a train Astation.houseis a metaphorical representation of human mind. We go through a moment when once seemingly everlasting things come to an end, its process as painful as if we are crumbling into pieces. Yet in the remains of despair, we discover something held most dear to us.

The grandiloquent blood-and-thunder saga of a young child lost in Manchuria’s deep jungles. His sudden presence creates complete anarchy in the fauna’s primitive world, which was until-then perfectly organized.

KALEIDOSCOPE 五光十色 Midnight Heat 我愛午夜長

本片有日本怪奇文學、超現實黑色喜劇等元素，但有沒有一樣最為影響你？卡佛小說的荒誕，對我有很大衝擊。我也曾把五十至六十年代的黑色電影，從頭到尾看了一次。我就好奇，給我拍這種題材會是怎樣。日本怪奇文學那方面，我拍過電視劇《熱海搜查官》，內容是主角在靈異世界查案，故事滲入不少日本神話。本片也有神話氛圍，活人的世界跟死人的世界平行共存。本片有一個角色叫平坂，是從「黃泉比良坂」這個黃泉入口前的斜坡而來。（按：日文中，平坂和比良坂同音。）希臘神話的地獄犬克爾柏洛斯和冥王哈迪斯，以及其他類似元素，都有和日本神話相近之處。從地底的領域來到我們的世界，活人及死人的世界連上了，然後上天堂。這樣想，往生就是我們日常生活的延伸，我用自己的方法把這些神話元素寫進劇本。 MIKI Satoshi was born in 1961 in Kanagawa, Japan. He began writing for television while still a university student and worked on numerous popular shows afterwards, including Time Limit Investigator. He made his directorial debut in 2005 with In the Pool, and has subsequently written and directed numerous films utilising

三木聰 1961 年生於日本神奈川。大學時期已開始創作電視節目。 2005 年拍成導演首作《在池中》，同年再以《烏龜游泳意外迅速》開創「脫力系」風格，隨後以《時效警察》系列電視劇打響名堂，是日本影視圈獨樹一幟的喜劇怪才。 SELECTED FILMOGRAPHY 主要作品 2005 Turtles Swim Faster Than Expected 烏龜游泳意外迅速 2007 Adrift in Tokyo 轉轉 2009 Instant Swamp 即溶沼澤 2013 It’s Me It’s Me 俺俺 2022 Convenience Story 怪奇便利店物語

Furthermore, the relationship between Cerberus and Hades in Greek mythology and other such elements have similarities with Japanese myths. There’s that idea of emerging from an underground land into our world, because the worlds of the living and dead are connected, and then rising into Heaven. In that way of thinking, the afterlife is an extension of our daily lives. I wove those mythical elements into the screenplay in my own way. with Miki Satoshi [導演訪問] his uniquely surreal touch.

Convenience Story 怪奇便利店物語 This film has elements of Japanese fantasy literature, surreal black comedy, and much more, but were any influences particularly prominent for you? One was the novels of Raymond Carver, as their nonsensicality has had a big impact on me. Also, I went through a period of watching film noirs from the 50s and 60s back-to-back. […] I wondered what would be the end result if I tried my hand at the same thing.

With regard to Japanese fantasy literature, I directed the TV series Atami’s Police Investigators, which features a protagonist carrying out an otherwordly investigation, and used motifs from Japanese myths. This film also has a kind of myth-like atmosphere woven into it, in which the living world exists side-by-side with the realm of the dead. The name “Hirasaka” pops up because it’s taken from the mythical Hirasaka Yomotsu, a boundary between the worlds of the living and the dead.

175 MIDNIGHT HEAT 我愛午夜長 Japan 日本 2022 | Japanese | DCP | Colour | 97min Director Miki Satoshi Producer Mori Shigeaki Scriptwriter Miki Satoshi Cinematographer Takada Yokou Editor Tominaga Takashi Production Designer Shintani Tomokazu Cast Narita Ryo, Maeda Atsuko, Rokkaku Seiji Production Studio3 Inc World Sales Free Stone Productions Co., Ltd.

Interview

of the horror genre. 戴利奧阿真圖 1940 年生於意大利羅馬。起初是羅馬一份晚報的影評人，後於 70 年執導首部長片《摧花手》，其後多部作品備受好評，而他亦成為了著名的恐怖片大導演。 SELECTED FILMOGRAPHY 主要作品 1970 The Bird with the Crystal Plumage 摧花手 1975 Deep Red 嚇壞人 1977 Suspiria 陰風陣陣 1982 Tenebrae 迷離大兇殺 2022 Dark Glasses 無明殺機 ©Matteo Cocco Persons Aged 18 and Above Only 只准18歲或以上人士

Scriptwriter Dario Argento, Franco Ferrini Cinematographer Matteo Cocco Editor Flora Volpeliere

Dark Glasses Occhiali Neri 無明殺機 Dark Glasses is a film that I imagined a few years ago and was unable to make, but that I never stopped thinking about. The difficulty was linked to the demands of the market, which was looking for violent and meaningless stories, while I was, at last, experiencing a phase of reconciliation with my nightmares. Therefore I decided to open the door of terror and go through and beyond it. For me, Dark Glasses represents the culmination of a journey, as an author, that was engraved in my destiny, one that has, since childhood, been influenced by the literature of Edgar Allan Poe. Now that times have changed, I don’t want to betray the essence of the story, nor the style that interprets it.

daily newspaper Paese Sera and made

Production Designer Marcello di Carlo

Director Dario Argento Producer Noémie Devide, Brahim Chioua, Vincent Maraval, Laurence Clerc

World Sales Wild Bunch

Speaking of the main characters I asked myself, as I do in all my films: “Who are they, and how do they move?” In this case, they are two special people. She is an adult and she is blind; he is a child who is too young to get by on his own. And they come from two different cultures: she’s Italian, while he’s Chinese. This combination is the driving force behind Dark Glasses, the axis on which the story revolves. The pace and tone go hand in hand with tension and suspense. Dark Glasses is what it’s meant to be: a very intense giallo thriller, with a new added element, compared to my previous films – sentiment and tenderness. Dario Argento [導演的話]

Dario ARGENTO was born in Rome, Italy in 1940. He began his career as a movie critic Rome’s his directorial a master

176 MIDNIGHT HEAT 我愛午夜長 Italy/France 意大利／法國 2022 | Italian | DCP | Colour | 90 min

for

Music Arnaud Rebotini Sound Bruno Ventura Cast Ilenia Pastorelli, Asia Argento, Andrea Gherpelli, Mario Pirrello Production Urania Pictures, Getaway Films

debut in 1970 with The Bird with the Crystal Plumage. Many of his films have gained cult status, and he is now regarded as

我在幾年前構思本片，開拍不成，但一直在我腦海醞釀。問題出自市場只想要暴力得來無謂的故事，但我卻已逐漸和自己的夢魘和解，所以想打開恐怖之門，走進去並找出路離開。本片是我作為電影作者的集大成，自我小時接觸愛倫坡的文學，便與這類型結下不解緣。時代變了，我不想背離故事以及相應風格的精神。至於本片的主角，我一如既往這樣問自己：他們是誰？會怎樣逃亡？這裏的男女主角都是特殊人物。她是失明的成人，他是需要依靠別人的小孩，兩人文化背景不同，她是意大利人，小孩是華裔。這個組合就是本片動力所在，故事圍繞這些而發生，節奏及調子、緊張及懸疑息息相關。本片恰如其分，是一部很激烈的「鉛黃電影」，但加添了我舊作沒有的溫情。

[導演訪問] 這個故事從何而來？我研究這題材已久，拍過同名短片，2013 年於康城影展首映，翌年在辛丹斯電影節放映。我在大學修讀性別研究時寫過有關色情行業的論文，啟發這故事，但我對色情行業這題材的興趣由來已久。這行業有不少東西吸引我，但我的興趣在於性別角色、媒體形象及各式定型觀念，這些在色情行業都很易找到，而且不乏極端例子。我有興趣探討媒體形象如何塑造我們的身份。色情行業是唯一將性行為暴露人前的地方，是我們文化的一大部分。現代人消費不少於色情物品上，但我們卻甚少公開談論，或與朋友談及。這一大部分的文化存於幽暗世界，令我好奇，想了解更多。也許因為是禁忌，令我更想深入發掘。你如何能進入成人電影的世界？我只有一個聯絡人，之後不斷穿針引線，認識更多行內人。起初我只想訪問他們，可能我表現真誠，不會批判或作心理分析，只虛心聆聽，因此逐漸得到他們的信任，不久我便能融入這圈子，成為一員。 Ninja THYBERG was born in 1984, in Gothenburg, Sweden. She is a director and screenwriter, graduated in 2015 from Stockholm Academy of Dramatic Arts. Pleasure is her directorial debut feature, developed from her Cannes award-winning short film. 寧嘉蒂貝 1984 年生於瑞典哥德堡。身兼導演及編劇，2015 年畢業於斯德哥爾摩戲劇學院。 2013 年拍成短片《 AV 女優血肉史》，於康城影展國際影評人周獲獎，2021 年再拍成同名長片。 SELECTED FILMOGRAPHY 主要作品 2013 Pleasure ( short) AV 女優血肉史（短片） 2014 Hot Chicks (short ) 辣妹（短片） 2015 Catwalk (short )時裝表演天橋（短片） 2021 Pleasure AV 女優血肉史 ©Plattform Produktion Persons Aged 18 and Above Only 只准18歲或以上人士

女優血肉史 What inspired the storyline of Pleasure? I’ve been working on the topic for a very long time. I made a short film with the same title. It premiered in Cannes in 2013 and Sundance the year after. I got the inspiration for that story while writing an essay about porn during a gender studies class at university. But I’ve been interested in porn as a subject for a very long Theretime.aremany things that fascinate me, but I am interested in gender roles, media images and different stereotypes. It’s very easy to find them in porn. They are very extreme in a lot of porn. And I’m interested in how media images shape our identities. When it comes to pornography, it’s the only place where we really see explicit sex and it’s a huge part of our culture. People consume so much pornography today and it’s something that we never discuss publicly or talk about amongst our friends. It’s a huge part of our culture that exists in a world of shadows and that made me curious to understand more about it. I guess because it was taboo, that’s why I wanted to dig into it. with Ninja Thyberg

Interview

177 MIDNIGHT HEAT 我愛午夜長 Sweden/The Netherlands/France 瑞典／荷蘭／法國 2021 | English/Swedish | DCP | Colour | 108 min Director Ninja Thyberg Producer Erik Hemmendorff, Eliza Jones, Markus Walta Scriptwriter Ninja Thyberg, Peter Modestij Cinematographer Sophie Winqvist Editor Olivia Neergaard-Holm, Amalie Westerlin Tjellesen Production Designer Paula Loos Music Karl Frid Sound Evelien van der Molen, Vincent Sinceretti Cast Sofia Kappel, Revika Anne Reustle, Evelyn Claire Production Plattform Produktion World Sales Versatile AVPleasure

HKIFFS 主辦 Presented by 思憶迷漫阿倫雷奈 Alain Resnais THE MEANDERINGS OF MEMORY 資助機構 Financially Supported by 香港特別行政區政府透過電影發展基金向本項目提供財政支援。有關財政支援與本項目的內容或在本項目中所表達的意見並無關連。 The Government of the Hong Kong Special Administrative Region provides funding support to the project through the Film Development Fund. The funding support bears no relationship whatsoever to the content of or views expressed in this project.

KALEIDOSCOPE 五光十色 Poetry in Motion 詩影像

[導演的話] 西班牙思想家烏納穆諾 1931 年的「迷霧小說」《殉道者聖曼奴布埃諾》便曾描述一條虛構的湖畔小村。故老相傳，湖水淹埋了一個城鎮，在那裏，水面的所有俗情煩務都被拋到九霄雲外。德國作家馮塔內 1895 至 97 年也寫了一本叫《施特希林》的小說，它跟勃蘭登堡的同名湖泊已密不可分。斯拉夫民俗有關於湖精的傳說，還有諾貝爾文學獎得主辛波絲卡的詩作、人類學家安清的文本。當來自不同方向的靈感合流，便滙聚成這個念頭：拍一部如水般流動的電影；由一個故事開始，然後隨它流動，讓它與另一個故事無縫接合，然後進一步延伸，讓平行敘事、韻律與回音自行出現。我視電影為捕捉物種多元性、語言、材料、時序與共在方式的工具。從現在回到過去，再流向未來；從數碼轉換菲林，再轉向非數碼的錄像；從社群到社群；從身體到身體。我們投射影像與故事，穿越連串反思的光景，連結了朋友。 Dane KOMLJEN was born in 1986 in SFR Yugoslavia. He studied film directing at Faculty of Dramatic Arts, Serbia and contemporary art at

180 POETRY IN MOTION 詩影像 Germany/Serbia/Spain/South Korea 德國／塞爾維亞／西班牙／南韓 2022 | SpanishEnglish/Polish/Swedish/Serbo-Croatian/ | DCP/Online | Colour | 93min Director Dane Komljen Producer Zsuzsanna Kiràly Scriptwriter Dane Komljen Cinematographer Jenny Lou Ziegel Editor Dane Komljen Production Designer Sound Jakov Munižaba Cast Jonasz Hapka, Signe Westberg, Boban Kaludjer, Ton Gras, Gorka Martin Production Flaneur Films World Sales Square Eyes

Afterwater 心湖浮影 Fictions overflowed. There was Miguel de Unamunos’s 1931 “nivola”, San Manuel Bueno, mártir that describes a fictional village on the edge of a lake, inspired by Lago de Sanabria in Zamora, which they say holds a submerged town in which all the problems and crises that govern life on the surface no longer apply. There was also Theodor Fontane’s novel Der Stechlin, written between 1895 and 1897, impossible to separate from the Brandenburg lake of the same name. There were Slavic folk tales about water spirits, the poems of Wislawa Szymborska, and the texts of Anna Tsing. With these different currents pulling in all directions, the idea took hold to make a film as fluid as water itself, to begin one story and make it flow seamlessly into another, drifting out ever further as parallels, rhymes, and echoes appear. I saw cinema as a tool to capture a multiplicity of species, languages, materials, temporalities and ways of being together. Shifting from present to past to future, from digital to celluloid to analogue video, from community to community and body to body, floating through a certain type of landscape: a reflective surface onto which one projects images and stories. On it, beside it, and around it we gathered friends, including one from my previous films, alongside actors from an entirely different cinematic universe and performers from the world of dance, uncertain if what we were making was narrative, experimental, or something else entirely. Le

Fresnoy, France. His short films have been shown at multiple festivals worldwide. His first feature, All the Cities of the North, premiered in 2016 at Locarno Film Festival. 丹尼哥米耶 1986 年生於前南斯拉夫，於塞爾維亞戲劇學院修讀電影導演，並於法國國立當代藝術中心修讀當代藝術。短片作品曾於康城影展及鹿特丹電影節獲獎。2016 年，他的首部劇情長片《北境三人行》於羅迦諾電影節首映。 SELECTED FILMOGRAPHY 主要作品 2010 I Already Am Everything I Want To Have (short ) 我已是我想擁有的一切（短片） 2013 Tiny Bird (short ) 小鳥（短片） 2015 Our Body (short ) 我們的身體（短片） 2016 All the Cities of the North 北境三人行 2022 Afterwater 心湖浮影 ©Ivan Markovic ©Flaneur Films

A Night of Knowing Nothing Love in India is often wrought with caste, class and religious differences. The film finds its form in letters, written by a young woman at the university to her estranged lover. They have been separated by his parents, who don’t approve of their relationship. Through these letters that span many years, we get a sense of a section of the youth who are caught in both personal struggles as well as larger social struggles, as they deal with the drastic changes that take place around them. Perhaps this is why we chose the title, A Night of Knowing Nothing. It’s like a long, unpredictable night, where we are all in the dark on what to expect next. The title was also “found” on the walls of a university, scribbled under a flickering tube light by an unknown poet. This film is our homage to India’s public university system. For centuries, certain sections of Indian society have been denied access to education. The public university system was designed to correct these historical wrongs. Although it may not have always succeeded in doing so, as caste and other discriminations still exist within its inherent structures, public universities still potentially provide spaces for true freedom, both physical and intellectual, where nothing is sacrosanct and everything needs to be questioned. This is the freedom that we need to strive for, for the future generations to come, so that young people who have access to it can free themselves from the society that binds them.

一任無知到天明

181 POETRY IN MOTION 詩影像 France/India 法國／印度 2021 | DCP/OnlineHindi/Bengali | Colour/B&W | 99min Director Payal Kapadia Producer Thomas Hakim, Julien Graff, Ranabir Das Scriptwriter Payal Kapadia, Himanshu Prajapati Cinematographer Ranabir Das Editor Ranabir Das Sound Moinak Bose, Romain Ozanne Production Petit Chaos World Sales Square Eyes

Payal Kapadia [導演的話] 印度的愛情關係往往經歷種姓制度、階級觀念及宗教差異的磨練。本片以一名年輕女大學生寫給遠方情人的書信為形式。二人的父母並不認可這段關係，把他們分開。透過這些歷時多年的書信，我們看到當年輕人面對周遭的巨大改變時，同時掙扎於個人問題及更大的社會問題之間。這也許是我們為本片命名為《一任無知到天明》的原因，就像一個難以預計的長夜，無人知曉將發生什麼。這個片名也在某大學的牆上出現，由某不知名詩人在閃爍不定的光管下塗畫上去。本片是我們對印度公立大學制度的致敬。數個世紀以來，印度的某些人被禁止接受教育，公立大學體制因而出現以修正這些歷史種下的錯誤。種姓制度及其他歧視問題仍然存在於社會的固有結構裏，以致問題未被完全改正過來，即便如此公立大學仍然在實際上及學術上提供真正自由之地，在這裏沒有什麼是神聖不可侵犯的，一切問題都可以提出來討論。這是我們必須為未來一代爭取的自由，讓他們得以掙脫社會的枷鎖。 Payal KAPADIA is a Mumbai-based filmmaker. She studied film direction at Film & Television Institute of India. Her short films Afternoon Clouds (2017) and And What is the Summer Saying (18) premiered respectively at Cannes and Berlinale. A Night of Knowing Nothing (21) was selected for Cannes Directors’ Fortnight, where it won the Golden Eye Prize for Best Documentary. 柏耶嘉柏迪婭 1986 年生於孟買，畢業於印度電影電視學院，主修導演。短片《午後雲朵》 ( 2017) 入選康城影展奠基短片競賽單元，《夏日絮語》(18 ) 則入選柏林影展。《一任無知到天明》是她的首部長片，入選康城影展導演雙周並獲最佳紀錄片獎。 SELECTED FILMOGRAPHY 主要作品 2012 Cassandra’s Gift (short) 卡珊卓的禮物（短片） 2015 The Last Mango Before the Monsoon (short ) 雨季前最後一個芒果（短片） 2018 And What is the Summer Saying (short) 夏日絮語（短片） 2021 A Night of Knowing Nothing 一任無知到天明

182 POETRY IN MOTION 詩影像 USA 美國 2021 | DCP | Colour | 106min Director James Benning Producer James Benning Print Source neugerriemshneider

installations.

本片是一段記錄，關於世上最著名的 66 英里長鐵路軌道，包括特哈查比圈在內。 [影評摘錄] 占士班寧繼《RR》再次拍攝鐵道，但今次他並非觀察不同火車，而是在長達 66 英里、從碧克斐到莫哈韋的鐵路沿線，凝望列車駛過。走在無垠路軌的列車，恍似把我們帶到彼方。我們一邊望着路軌，一邊凝視火車經過的瞬刻。從中也能見到文化遺跡，例如現今電影已經遺忘，但經典西部片會出現的載貨列車。本片和《天堂路上》相映成趣，後者幾乎全在疫情封城期間，在屋內拍攝。本片則展露美國蠻荒及遼闊一面，令因為疫情難以周遊列國的我們，拾回多少自由感覺。

From Bakersfield to Mojave 軌跡八景 A document of one of the most famous 66 miles of railroad track in the world including the Tehachapi Loop. James Benning After his 2007 RR, filmmaker James Benning set his camera up by the railroad again. This time, instead of observing various types of trains, he watches trains passing the 66-mile railroad from Bakersfield to Mojave. The endless train tracks look as if the trains were transporting us to somewhere. Watching the tracks, we gaze at the moment of trains passing through the track. We also find the heritage from the past, cargo trains, reminding us of scenes from classic western movies that today’s cinema almost forgot. From Bakersfield to Mojave forms a delightful contrast with On Paradise Road, which was exclusively filmed inside the house during the shutdown. Showing us the wild and vast nature of the United States, it delivers us some sense of freedom in this moment where nobody is really allowed to travel freely around the world. Review by Sung Moon [導演的話]

占士班寧 1942 年生於美國威斯康辛州，父母是德國移民，就讀於威斯康辛大學電影系，未入學已獨立拍片。 72 年開始拍短片，其後拍實驗作品， 78 至 85 年創作大量銀幕投射及電腦裝置， 77 至 80 年間，亦到加州及奧克拉荷馬州多間大學任教，後遷往紐約，過其獨立電影生涯。除創作外， 87 年至今一直在加州藝術學院任教。 SELECTED FILMOGRAPHY 主要作品 1978 One Way Boogie Woogie 布嘰烏嘰單程路 1983 American Dreams 美國夢 2004 13 Lakes 十三湖 2010 Ruur 魯爾區 2021 From Bakersfield to Mojave 軌跡八景 2022 The United States of America 花旗五十二景

占士班寧 1942 年生於美國威斯康辛州，父母是德國移民，就讀於威斯康辛大學電影系，未入學已獨立拍片。72 年開始拍短片，其後拍實驗作品， 78 至 85 年創作大量銀幕投射及電腦裝置， 77 至 80 年間，亦到加州及奧克拉荷馬州多間大學任教，後遷往紐約，過其獨立電影生涯。除創作外， 87 年至今一直在加州藝術學院任教。 SELECTED FILMOGRAPHY 主要作品 1978 One Way Boogie Woogie 布嘰烏嘰單程路 1983 American Dreams 美國夢 2004 13 Lakes 十三湖 2010 Ruur 魯爾區 2021 From Bakersfield to Mojave 軌跡八景 2022 The United States of America 花旗五十二景 USA 美國 2022 | DCP | Colour | 102min Director James Benning Producer James Benning Print Source neugerriemshneider The

這部電影參照了我以往的一些作品，加上過去的政治及社會事例，呈現正處於新冠肺炎疫情下的美國視覺。而 2020 年美國「標準頻道」播放我和貝蒂戈登於 1975 年一同創作的十六米厘短片《美利堅合眾國》，亦是我這次電影的靈感來源。 [導演訪問] 你如何列出你想拍的地方，然後找回相應的地點？我想拍出不同季節及環境，沙漠、高山之類。我在加州住了三十年，對它瞭如指掌，也在加州拍過很多作品。加上我去過美國很多地方，所有州我都去過。不過我不會完全信任記憶，我花很多時間用 Google 街景去確保相應的地點真的有同一景觀。不過我也有犯規，例如我明知華盛頓（首都）不會有加州那個農民銅像，我照樣說是在華盛頓見到的。華盛頓充斥着不同總統的銅像，我本想稱呼他們為失敗的總統們，但我想任何總統多少都有失敗之處（笑），而我寧願用一個工人的銅像來代表我國首都。我在五十個州之外，也包括了哥倫比亞特區及波多黎各，承認這兩個不是州的行政區，都有其他五十個州的選舉權。

James BENNING was born in Milwaukee, Wisconsin, USA in 1942. He worked as an independent filmmaker even before studying film at the University of Wisconsin in 1965. Between 1978 and 1985 he realised numerous projection and computer installations. From 1977 to 1980 he taught at the Universities of California and Oklahoma. Since 1987, he has been teaching at the California Institute of the Arts. United States of America view of the United States of America from a mid-Covid perspective, with references to some of my prior films, along with past political and social citations. The film was inspired by a 2020 Criterion Channel showing of The United States of America, a 25-minute, 16mm film, made together with Bette Gordon in 1975. James Benning How did you map out and match up each shot with its corresponding location? […] I wanted to have different seasons and different topographies – deserts, mountains, things like that. But I know California really well, having lived here for 30 years and having made a lot of work here. I’ve also traveled around the U.S. a lot – I’ve been in every state. But I also spent a lot of time on Google Street View to really match things up, and to make sure my memory was correct. […] But I also broke that rule – for example, when I used the statue of the farmer in California for Washington, D.C., I did that because they have all these monuments in D.C. of what I would call – I wanted to say failed presidents, but I guess all presidents have failed in some ways. In any case, I thought I’d rather see a statue of a working person being represented in our nation’s capital. And I was also interested in giving Washington, D.C. its voting rights by calling it a state – Puerto Rico too. Interview with James Benning [導演的話]

183 POETRY IN MOTION 詩影像

花旗五十二景 A

NYFF Europa was the first film by Polish pioneers Stefan and Francizka Themerson, believed lost for over 70 years, this rediscovered masterpiece stands as one of the great works of twentieth century European avant-garde filmmaking.

184 Dianna BARRIE and Richard TUOHY are among the most active experimental film artists currently working on celluloid in Australia. Selected filmography: China Not China (18), Valpi (19). 黛安娜芭麗、理察圖伊是澳洲的實驗電影導演，專注於用菲林創作。主要作品：《中國非中國》( 18)、《華比》( 19)。 Stefan and Francizka THEMERSON were pioneering Polish filmmakers in the early 20th Century. Selected filmography: Adventures of a Good Citizen (37), The Ear and the Eye (44), Europa Reconstruction (83). 史提芬、弗蘭絲卡斯密遜是 20 世代早期的波蘭前衛導演。主要作品：《好市民大歷險》( 37)、《耳和眼》(44 )、《重構歐羅巴》 ( 83 )。 Peter TSCHERKASSKY was born in 1958 in Vienna and started filmmaking in 1979. Selected filmography: Motion Picture (84), L’Arrivée (99), Coming Attractions (2010). 彼德柴卡斯基 1958 年生於維也納，79 年開始電影創作。主要作品：《定格》( 83)、《鏡頭－反鏡頭》(87 )、《快樂－結局》(96 )、《夢幻作品》( 2002)、《給光影機器的指引》(05 )、《下一波電影引力》(10)、《典緻軀體》( 15)。 Avant Garde Shorts Programme 前衛短片專輯

Translating Anatol Stern’s futurist poem into moving images with photograms and collages, the film was made in Warsaw in 1931-32, in the Themersons’ bedroom on Ulica Królewska.

18 years after I created my third darkroom film L’Arrivée (an homage to the Lumière brothers and their 1896 The Arrival of a Train), I embarked on Train Again. This third film in my “Rushes Series” is an homage to Kurt Kren that simultaneously taps into a classic motif in film history. My darkroom ride took a few years, but we finally arrived: All aboard! Peter Tscherkassky [簡介]

The literal frame of a window overlooking a small garden becomes the scene through which Richard Tuohy’s film exploits the myriad plastic potentialities of the cinematic frame. Immersive and stroboscopic, In and Out a Window offers its own variations on cinema’s mechanical segmentations of space and time, opening up a portal to undiscovered dimensions and new phenomenologies.

導演用一個向着小花園的窗框，探索電影畫框的無窮造型可能。《窗內窗外》的沉浸及頻閃性質，和應電影把空間及時間以機械方式分割的本質，尋覓前所未見的維度及現象世界。紐約電影節 [簡介] 本片散佚七十多年後重見天日，是波蘭前衛導演史提芬與弗蘭絲卡斯密遜的首部作品，也是二十世紀歐洲前衛影片一部代表作品。本片把安納托爾斯特恩的未來主義詩篇，以不經攝影機的菲林曝光映像及拼貼化成流動映像，是於1931及32年於斯密遜夫婦在華沙樺樹街的住所製作。 [導演的話] 我1998年的黑房作品《到站》，向盧米埃兄弟及他們的《火車到站》致敬，十八年後，我開始創作《又見火車》，是我第三部「毛片系列」作品。本片既向庫特克倫致敬，也採用了電影史上一個古典動機。這次我在黑房坐足幾年，但終於到站了，大家上車吧！ In and Out a Window 窗內窗外 Europa 歐羅巴 Train Again 又見火車 Dir: Dianna Barrie, Richard Tuohy Australia 澳洲 2021 16mm/Online B&W 13min Dir: Stefan Themerson, Franciszka Themerson Poland 波蘭 1931 DCP/Online B&W 12min Dir: Peter Tscherkassky Austria 奧地利 2021 DCP/Online B&W 20min POETRY IN MOTION 詩影像

185 Avant Garde Shorts Programme 前衛短片專輯 Berlin Feuer 柏林火焰 The Sower of Stars El Sembrador de Estrellas 繁星幽域 Dir: Pedro Maia Portugal/Germany 葡萄牙／德國 2021 DCP/Online Colour 6min Dir: Lois Patiño Spain 西班牙 2022 DCP/Online Colour 25min Pedro MAIA was born in Portugal, and works predominantly with 16mm and 8mm film. Selected filmography: Plant in my Head (14), Fade into Nothing (17), Janela do Inferno (22). 帕度邁亞生於葡萄牙，主要用 16 米厘及 8 米厘菲林創作。主要作品：《我腦海的植物》( 14)、《消逝至無》(17 )、《地獄之窗》 (22 )。 This new film is built from manipulated 35mm analogue film stock, with high resolution scans of old nitrate celluloid film from an unknown Berlin fire dating back to the 1940s. It was common for film to accidentally burn while projecting but paradoxically these archives have survived the fire they filmed and it is not the flames that have damaged the material, but the passage of time. [簡介] 本片材料是被特別處理過的35米厘菲林，一條拍攝四十年代一場柏林火災的古舊硝酸底片，被高清掃瞄成數碼格式。以前放映菲林時，不時會有底片燒着的情況，但這些拍攝火災的底片，出奇地沒有燒掉，倒是被時間沖蝕。 Lois PATIÑO was born in 1983 in Vigo, Spain. He is a director, cinematographer, and artist. Selected filmography: Coast of Death (2013), Red Moon Tide (20). 路易斯柏天奴 1983 年生於西班牙維戈，身兼導演、攝影師及藝術家。導演作品有《死亡海岸》(13 )、《紅月狂潮》(20)等。 Distant lights draw the city. Shining ships arrive with sleeping people and the night turns liquid. The stars’ sower wakes them up and they travel through the city, talking about this and that, while saying goodbye to everything. [簡介] 遠方的燈光，描出城市模樣。發光的船載着睡着的人到來，黑夜也變成液體。繁星的撒種者把它們叫醒，它們走遍全城，無所不談，向一切事物道別。 POETRY IN MOTION 詩影像

KALEIDOSCOPE 五光十色

Restoration Credits: Shoeshine: Restored in 2022 by The Film Foundation and Fondazione Cineteca di Bologna, in collaboration with Orium S.A. at L'Immagine Ritrovata laboratory. Restoration funding provided by the Hobson / Lucas Family Foundation. Oliver! was restored in a complete 4K workflow by Sony Pictures Entertainment in 2021. Inspection, physical repair and 4k scanning were completed by Cineric, Inc., in New York of the 35mm Original Picture Negative, a 35mm Color Internegative and a 35mm Color Interpositive. The secondary picture sources proved valuable to colorist Sheri Eisenberg at Roundabout Entertainment in Santa Monica in order to complete a conformed picture for the HDR grading. Digital Image restoration was completed at Prasad Corporation in India, MTI Film in Los Angeles and at Roundabout Entertainment. Audio restoration was finished at Deluxe Audio Services in Hollywood, following a retooling of the original Chace/Deluxe restoration from the original 35mm LCRS stereo magnetic tracks. Kummatty: Restored by The Film Foundation’s World Cinema Project, Film Heritage Foundation, Mumbai and Cineteca di Bologna at L’Immagine Ritrovata laboratory, in association with General Pictures, National Film Archive of India and the family of Govindan Aravindan.

Restored Classics 修復經典

生於丹麥哥本哈根，是丹麥農夫與瑞典女傭的私生子。曾任職記者，後加入電影界，從讀稿員晉升為導演。他是極簡主義電影美學的代表人物之一，亦公認是影史上其中一位最偉大的丹麥導演。 SELECTED FILMOGRAPHY 主要作品 1928 The Passion of Joan of Arc 聖女貞德 1932 Vampyr 殭屍 1943 Day of Wrath 憤怒的日子 1955 Ordet 諾言 1964 Gertrud 葛楚 ©Danish Film Institute

“With Vampyr I wanted to create a daydream on film, and I wanted to show that the sinister lies not in the things around us but in our own subconscious. If we are, through some occurrence or another, brought to a state of great tension, there are no limits to where our fantasy can lead us or what strange meanings we can ascribe to the real things which surround us.”

Vampyr 殭屍 Dreyer explained, “At the time I made Vampyr I had been living in Paris for four or five years. In Paris at that time, you couldn’t help but be caught up in the excitement and the imagination which the various artists and movements created, whether ‘cubism,’ ‘dadaism,’ ‘surrealism,’ or what have you… At the time of Vampyr I was ‘over head and ears’ in interest in abstract art.”

[導演的話] 德萊葉解釋：「我拍《殭屍》時已在巴黎住了四、五年。那時在巴黎，你不得不趕上不同藝術家及『立體主義』、『達達主義』及『超現實主義』等運動的熱潮及想像。我認識幾位畫家，與他們一起討論。所以我也受影響，不過是受作品那種興奮、活力和多樣化的影響，而非個別畫家或運動的影響。拍《殭屍》時，我徹頭徹尾沉迷於抽象藝術。」德萊葉拍《殭屍》時似乎亦有其他考慮。他剛拍完《聖女貞德》，說過「若我繼續拍此類型，將會被喚作『聖人導演』，那就糟糕了。我選擇拍《殭屍》，因為想做一些完全相反的事。電影是白日夢。我沒有什麼特別目的，只想拍與別不同的影片。我想為電影另闢蹊徑。」「我想在銀幕上嘗試帶出一種險惡的氣氛……在《殭屍》看不見血，但你會感覺到血。鮮血、邪惡及神秘的感覺，都是透過看不見的畫面呈現出來。」在前作堅守寫實主義，德萊葉在《殭屍》轉向另類氛圍，想要最高度的不真實以及幻想瀰漫：「在《殭屍》我想創造電影的白日夢，呈現邪惡不止在身邊四周，更是在自己潛意識中。當一些事發生，令我們處於極度緊張狀態，幻想會無窮無盡地，為周遭事物賦予奇怪的詮釋。」《我的唯一熱情：德萊葉的生命與電影》

(1889-1968 ) was born in Copenhagen, Denmark, the illegitimate son of a Danish farmer and his Swedish housekeeper. After working as a journalist, he entered the film industry, and advanced from reading scripts to directing films himself.

187 RESTORED CLASSICS 修復經典 Germany/France 德國／法國 1932 | German | DCP | B&W | 75min Director Carl Theodor Dreyer Producer Carl Theodor Dreyer, Julian West Scriptwriter Christen Jul, Carl Theodor Dreyer Cinematographer Rudolph Maté Editor Tonka Taldy Production Designer Hermann Warm Music Wolfgang Zeller Sound Hans Bittmann Cast Julian West, Maurice Schutz, Rena Mandel, Sybille Schmitz Production Carl Theodor Dreyer-Filmproduktion, Tobis Film Print Source Danish Film Institute

My Only Great Passion: The Life and of Carl Th. Dreyer

Films

Carl Theodor DREYER He is regarded as the greatest director ever to emerge from Denmark. (1889 1968)

Dreyer also seems to have had another thought in mind when he made Vampyr. He had just made Joan of Arc and if “I had continued in that genre I would have been called the ‘saint’s director.’ That would have been awful. So I chose Vampyr in order to do something exactly Dreyer,opposite…”whohadinsisted so doggedly on realism in his previous films, turned to a different atmosphere in Vampyr. Here he wanted unreality in the highest degree and a pervasive sense of fantasy.

卡爾德萊葉

Producer Giuseppe Amato, Paolo William Tamburella Scriptwriter Sergio Amidei, Adolfo Franci, Cesare Giulio Viola, Cesare Zavattini Cinematographer Anchise Brizzi Editor Niccolò Lazzari

Shoeshine, written by Cesare Zavattini, is a social protest film that rises above its purpose. It is a lyric study of how two boys betrayed by society betray each other and themselves. The two young shoeshine boys who sustain their friendship and dreams amid the apathy of post-war Rome are destroyed by their own weaknesses and desires when sent to prison for black-marketeering. This tragic study of the corruption of innocence is intense, compassionate, and above all, humane. Pauline Kael [影評摘錄]

188 RESTORED CLASSICS 修復經典 Italy 意大利 1946 | Italian | DCP | B&W | 93min

Shoeshine was not conceived in the patterns of romance or melodrama; it is one of those rare works of art which seem to emerge from the welter of human experience without smoothing away the raw edges, or losing what most movies lose, the sense of confusion and accident in human affairs. […]

[…] Shoeshine has a sweetness and a simplicity that suggest greatness of feeling, and this is so rare in film works that, to cite a comparison one searches beyond the medium. If Mozart had written an opera set in poverty, it might have had this kind of painful beauty.

《擦鞋童》並非以浪漫或通俗劇的形式創作；它是罕見的藝術作品，由混亂無序的人生經驗中衍生出來，沒有撫平棱角，或失掉大部分電影失去的──就是人事上的混亂與意外之感。《擦鞋童》的偉大之處，在於我們體驗的情感沒有被加以修飾，而是赤裸裸的，直接從銀幕傾瀉出來。奧遜威爾斯在 1960 年讚揚此片曾說：「我操控攝影機無人能及，但第昔加能做到的，我做不到。我最近重看《擦鞋童》，發現攝影機不見了，銀幕不見了，只有生命……」《擦鞋童》有一種甜美及簡樸，帶出濃厚的感覺，這在電影中甚為少見；要借用其他媒介方能作出類比──如莫札特要寫一套關於貧窮的歌劇，該當是如此淒美。由賽薩薩瓦提尼編劇的《擦鞋童》是一部抗議社會的電影，卻超越其本身意義。這是詩意的研究，看兩個被社會離棄的男孩，如何互相背叛。兩個年輕的擦鞋童在戰後羅馬的冷漠社會裏保持友情及夢想，卻因黑市交易身陷囹圄後，被自己的軟弱及慾望所摧毀。這種對純真失落的悲劇研究，既情感強烈，更悲天憫人。寶蓮姬爾 Vittorio De Sica (1901-74) was born in Sora, Italy. He is a leading figure in the Italian neorealist movement. During a prolific career that spanned 55 years, he directed 35 films and acted in more than 150. Four of the films he directed won Best Foreign Language Film at the Academy Awards. 第昔加 (1901 74 ) 生於意大利索拉。他是意大利新寫實主義領軍人物，從影 55 年間，共執導 35 部電影，並演出超過 150 部影片。他曾四次奪得奧斯卡最佳外語片殊榮。 SELECTED FILMOGRAPHY 主要作品 1946 Shoeshine 擦鞋童 1948 Bicycle Thieves 單車竊賊 1951 Miracle of Milan 米蘭奇蹟 1952 Umberto D. 風燭淚 1960 Two Women 戰地兩女性 1964 Marriage Italian Style 結婚進行曲

Director Vittorio De Sica

擦鞋童

Production Designer Ivo Battelli, Giulio Lombardozzi Music Alessandro Cicognini Sound Tullo Parmegiani Cast Franco Interlenghi, Rinaldo Smordoni, Aniello Mele, Bruno Ortenzi, Emilio Cigoli

Production Societa Cooperativa Alfa Cinematografica

Shoeshine Sciuscià

Print Source Cineteca di Bologna

Orson Welles paid tribute to this quality of the film when he said, in 1960, “In handling a camera I feel that I have no peer. But what De Sica can do, that I can’t do. I ran his Shoeshine again recently and the camera disappeared, the screen disappeared; it was just life…”

Oliver! succeeds finally because of its taste. It never stoops for cheap effects and never insults our intelligence. And because we can trust it, we can let ourselves go with it, and we do. It is a splendid experience.

Roger Ebert [影評摘錄] Academy Award for Best and Best Director. ( 1906-76

Cinematographer Oswald Morris Editor Ralph Kemplen Production Designer John Box Music Lionel Bart Sound John Cox Cast Mark Lester, Ron Moody, Shani Wallis,

卡勞烈給觀眾呈現了卑陋齷齪的倫敦犯罪世界（有着長長的陰影和粗糙的鵝卵石路，一如他在《黑獄亡魂》呈現維也納那樣），有比爾賽克斯和他的癩皮狗，有路堤下酒吧的吵鬧，也有一如狄更斯想像那樣堅強而美麗的南茜。很多吸引觀眾的電影，都因為膨脹成豪華娛樂大片「標準」而毀掉，而這種類型電影的導演，面臨的挑戰是明智地花錢，並做好電影的節奏。《新苦海孤雛》兩者都成功了。美術設計師約翰伯克斯創造了出色的佈景，以完美細節再現了維多利亞時代的英國，而且從不過度。又請來在 1940 年代末和 1950 年代初歌舞片黃金時代擔任美高梅音樂總監約翰格林負責音樂部分，達致適當的平衡。影片得以成功，更是因為它的品味。它從不追求廉價的效果，也從不侮辱觀眾的智慧。因為我們可以對它有信心，所以可以盡情享受。這是一次美妙的經驗。羅渣伊拔 Carol REED (1906-76) was born in London, England. He was an English film director and producer, best known for The Third Man (49), which was voted number 1 in BFI Top 100 British Films. For Oliver!, he received the

Picture

卡勞烈

) 生於英國倫敦，其導演作品《黑獄亡魂》( 49 ) 被英國電影協會選為二十世紀百大英國電影之首。 69 年，憑《新苦海孤雛》贏得奧斯卡最佳電影及最佳導演。 SELECTED FILMOGRAPHY 主要作品 1944 The Way Ahead 鐵血英魂 1947 Odd Man Out 法網情絲 1948 The Fallen Idol 妒花風雨 1949 The Third Man 黑獄亡魂 1968 Oliver! 新苦海孤雛 1972 Follow Me 綠帽 ©1968, renewed 1996 Columbia Pictures Industries, Inc. All Rights Reserved.

Oliver Reed, Harry Secombe Production Romulus Films, Warwick Film Productions World Sales Park Circus

189 RESTORED CLASSICS 修復經典 UK 英國 1968 | English | DCP | Colour | 153min

Director Carol Reed Producer John Woolf Vernon Harris

Scriptwriter

Oliver! 新苦海孤雛 Reed gives us the seedy Underworld of London (with shadows as long and cobblestones as rough as the Vienna of his The Third Man). We get Bill Sikes and his mangy dog. We get the rowdy life of the alehouse under an embankment, and we get a Nancy who is, at last, as tough and harshly beautiful as Dickens must have imagined.

[...] Many a delightful movie has been ruined by being bloated up to roadshow “standards,” and the challenge to a director in this genre is to spend his money wisely and pace his movie well.

Oliver! succeeds at both. John Box, the designer, has created magnificent sets that reproduce Victorian England in perfect detail - and never to excess. John Green, musical director at MGM during its “golden age of musicals” in the late 1940s and early 1950s, was brought in to do the music and has hit the right balance.

190 RESTORED CLASSICS 修復經典 The Philippines 菲律賓 1976 | Filipino/Tagalog | DCP | Colour | 107min Director Mike de Leon Producer Severino Manotok Jr., Mike de Leon Scriptwriter Clodualdo Del Mundo Jr., Gil Quito Cinematographer Mike de Leon, Ely Cruz, Rody Lacap Editor Ike Jarlego Jr. Production Designer Mel Chionglo Music Max Jocson Cast Tommy Abuel, Mario Montenegro, Charo Santos, Mona Lisa Production/World Sales Cinema Artist Philippines

邁克迪里安 1947 年生於菲律賓馬尼拉，在德國海德堡大學修讀藝術史。於 75 年成立「菲律賓電影藝術家」製片公司，第一炮是連奴布洛卡的經典作《黑暗魔爪》。執導首作《五月之祭》獲選為七十年代十大菲律賓電影之一。 SELECTED FILMOGRAPHY 主要作品 1976 The Rites of May 五月之祭 1977 Moments in a Stolen Dream 浮生暫借夢 1980 Will Your Heart Beat Faster? 走粉瘋情畫 1985 An Indivisible Heaven 愛比仇更深 2000 Third World Hero 第三世界英雄

The Rites of May Itim 五月之祭 It was my fate to get dragged into politics even with a genre film like Itim (The Rites of May). The film was shown abroad at FILMEX in Los Angeles, in 1979. […] I said that the government’s sole commitment to filmmaking was documenting the daily existence of Ferdinand and Imelda Marcos. For this flippant remark, my passport as ordered to be pulled by a respected columnist-turned-rabid Marcos apologist. […] So I was made to apologise to this panel of government bureaucrats puffed up with underserved power. 43 years later, the film is being shown again in an international film festival, this time at Cannes, no less. The title of the section that I read is Surreal Mix of Horror and Politics. It is still appropriate, but Horror has now acquired a more sinister meaning. It is no longer about a ghost but about the monsters of Philippine politics, monsters that, after a long wait in the subterranean caverns of hell, have returned to ravish and rape my country all over again. The crazy thing is that we invited them back. Our constitution constrains me to recognise our newly elected leaders, but morally, I can never give my trust to people who are nothing more than the basest of criminals.

Mike DE LEON was born in Manila, the Philippines, in 1947, and studied filmmaking in Germany. He established the Cinema Artists Philippines in 1975, and his directorial debut, The Rites of May was voted the Philippine’s one the decade: 1970-79.

[導演的話] 即使《五月之祭》是類型片，命運卻把我捲進政治之中。影片於 1979 年在洛杉磯的 FILMEX 作海外放映，映後我被問到政府如何支持《五月之祭》這類電影。我那時年少氣盛，坦言政府對電影業的唯一支持，就是紀錄馬可斯夫婦的日常生活。我沒察覺菲律賓領事館的官員在場，其中一人對我表親說不知邁克是社運分子。我不是，我是一個自作聰明的傻瓜。這句輕率的話，令我遭一位轉為親馬可斯的德高望重專欄作家下令沒收護照……就像 1972 年我曾被馬可斯控制的軍政府拘留，今次事件亦是想恐嚇我。很明顯，這對大權在握的夫婦容不下任何人的批評。我被迫向擁有無限權力的政府官僚道歉。我道歉了，我還有什麼選擇？我只想拿回護照。四十三年後，此片在國際知名的康城影展再度放映，該環節題為恐怖與政治的超現實混合，貼切不過，但恐怖現已多了一重更邪惡的意義。這不再只是關於靈異，而是菲律賓政治的怪物，這些怪物在地獄潛伏已久，伺機重來蹂躪我的國家。最瘋狂的，是我們邀請他們回來。在憲法規範下，我須承認這新選出的領袖，但道德上，我對這些與罪犯無異的人，永不會投以信任。

of the ten outstanding films of

Urian Awards as

Mike de Leon

虔誠地主的最後晚餐

湯瑪斯古提域斯阿利亞 (

Leo Brouwer Germinal Hernández

) 生於古巴夏灣拿，畢業於夏灣拿大學法律系，並於羅馬電影實驗中心修讀電影，深受意大利新寫實主義影響。古巴革命後，與幾位年輕導演一起創辦古巴電影藝術及工業學院 ( ICAIC )。《低度發展的回憶》( 68 )是他最廣為人知的作品。晚年亦致力於教育新晉電影人。 SELECTED FILMOGRAPHY 主要作品 1966 Death of a Bureaucrat 官僚之死 1968 Memories of Underdevelopment 低度發展的回憶 1976 The Last Supper 虔敬地主的最後晚餐 1993 Strawberry and Chocolate (co dir ) 草莓與巧克力（合導） 1995 Guantanamera ( co dir ) 出殯也瘋狂（合導）

Cinematographer

World Sales Cuban Film Institute

The Last Supper La Última Cena

Vincent Canby The Last Supper, A Parable From Cuba: Politics and Religion, New York Times, May 5, 1978 [影評摘錄]

Producer

Sound

Scriptwriter

The Last Supper, a new Cuban film by Tomás Gutiérrez Alea, whose Memories of Underdevelopment was one of the critical hits of 1973, is a fine, cool, almost detached political parable told entirely in religious terms. In this way it recalls the kind of contradictions that made Memories of Underdevelopment so fascinating, and that are, for Mr. Alea, virtually a stylistic method. Though “Memories” looks at the Cuban revolution through the eyes of a middle-class intellectual who can’t bring himself to participate, the film itself is passionately committed. The Last Supper is about death resurrection, not only about the death and resurrection of freedom, but also of repression. Like the earlier film, it seems to say more than one ever expects to hear in popular revolutionary literature, where ideas and feelings are supposed to be recognized and accommodated by even the dimmest minds. The Last Supper…is not an easy film. It has something of the haunted, guilt-ridden manner of the Count, the character who dominates the film and who remains forever mysterious. It’s not, I think, that the director or Nelson Villagra, who plays the Count, withhold information. It is, rather, that the truth of human behaviour can never be more than action observed. The rest is speculation.

Director Tomás Gutiérrez Alea Camilo Vive, Santiago Llapur Tomás González, María Eugenia Haya, Tomás Gutierrez Alea Mario García Joya Editor Nelson Rodríguez

古巴導演湯瑪斯古提域斯阿利亞執導的《低度發展的回憶》是 1973 年備受好評的大熱作品之一。其新作《虔敬地主的最後晚餐》是一部精緻、沉着，抽離於政治而純粹關於宗教的寓言。這樣看來，它令人記起《低度發展的回憶》所呈現的矛盾，同樣令人着迷；對阿利亞而言，這儼然成為一種風格。儘管《低度發展的回憶》是透過中產知識分子的目光，看他不能投身的古巴革命，但影片本身充滿熱誠。《虔敬地主的最後晚餐》是關於死亡的救贖，不單是死亡與自由的復甦，亦是關於壓迫。一如前作，相比受歡迎的革命文學作品，即使思想最灰暗的人亦能認同及容納其主意及感受，影片所談及比期待的更多。這並不是一部容易理解的電影，它有着片中主角貴族地主那種焦慮不安、罪疚纏身之貌，永遠保留神秘姿態。我認為不是導演或飾演地主的演員尼爾遜維拉格隱藏什麼，而是人類言行的真相，只能從觀察到的行為去判斷，其餘只是猜測而已。影片最主要的一場是由地主主持的最後晚餐……晚餐完結前，地主酒酣耳熱之際，答應釋放一個奴隸，以及不用在耶穌受難日工作。但當承諾未能兌現，引發黑奴暴動……他的憤怒不是失望的上帝，而是地主的憤怒。

Production Designer Carlos Arditti Music

191 RESTORED CLASSICS 修復經典 Cuba 古巴 1976 | Spanish | DCP | Colour | 113min

Tomás GUTIÉRREZ ALEA (1928-96) was born in Havana, Cuba. After graduating from the Law Faculty of Havana University, he studied filmmaking in the Experimental Center of Cinematography in Rome. After the Cuban Revolution, he co-founded the Cuban Institute of Cinematographic Art and Industry (ICAIC) with a few young directors. He also engaged in mentoring young filmmakers in his late career. 1928-96

Cast Nelson Villagra, Silvano Rey, Luis Alberto García, José Antonio Rodríguez

Cecilia Cenciarelli, Fondazione Cineteca di Bologna [修復簡介] cinema of the 70s and 80s. He was a man of many talents – painter, cartoonist, musician, theatre director, and filmmaker. Before the release of The Dispossessed (91), he died of a heart attack at the age of 56. ( 1935-91

Director Aravindan K. Ravindranathan Nair Govindan Aravindan, Kavalam Narayana Panicker

Producer

阿那雲丹

) 生於印度喀拉拉邦戈德亞姆，印度新電影運動代表人物，身兼電影導演、劇場導演、畫家、漫畫家及作曲家。74 年執導首作《山羊座》，86 年憑《從前的日子》入選威尼斯影展主競賽單元。死於心臟病，享年 56 歲。 SELECTED FILMOGRAPHY 主要作品 1974 Throne of Capricorn 山羊座 1978 The Circus Tent 馬戲營幕 1979 Kummatty 魔法師古默蒂 1985 Chidambaram 哲達巴林廟宇 1986 Oridathu 從前的日子 1991 The Dispossessed 一無所有 Photo Courtesy – Film Heritage Foundation

修復《魔法師古默蒂》，再次提醒我們電影基金會和博洛尼亞電影資料館透過「世界電影計劃」所擁抱的核心使命：給電影傑作賦予新的生命，重新發現鮮為人知的電影瑰寶，從多個方向擴闊世界電影經典的珍藏。《魔法師古默蒂》只得兩個 35 米厘拷貝留存下來（其中一個印上了英文字幕），那是不太久遠之前，菲林負片沖印了拷貝就被棄掉，有時只得放映拷貝留下的緣故。留存下來的兩個拷貝都經過自然磨損，很髒，花痕很深，其中一個在畫面右邊持續有一條綠色直線，需要耗費心力逐格消除。片中的大自然環境，被認為是電影特色之一，是攝影大師沙哲卡倫的功勞，僅存的拷貝卻已完全失去了令天空、草地、枝葉及田野生光的豐富色彩，只剩一片紫紅色。多得舒雲德拉辛格鄧加普，博亞電影修復所的實驗室得以跟阿那雲丹的兒子拉穆，以及沙哲卡倫取得聯繫，他們協助盡可能地重現影片原初的美，和它奇妙的特點。 Govindan ARAVINDAN (1935-91) was one of India’s greatest filmmakers and a leading light of the New Indian Malayalam

192 RESTORED CLASSICS 修復經典 India 印度 1979 | Malayalam | DCP | Colour | 89min

Cinematographer Shaji N. Karun Editor A. Rameshan Music Kavalam Narayana Panicker, M.G. Radhakrishnan, Govindan Aravindan Sound Devadas Cast Ramunni, Master Ashokan, Vilasini Reema, Kothara Gopalakrishnan Production/World Sales General Pictures

Kummatty 魔法師古默蒂

Govindan

Scriptwriter

Restoring Kummatty reminded us once again of the core mission that The Film Foundation and Cineteca di Bologna embrace through the World Cinema Project; to give a new life to masterpieces, shed a light on obscure cinematic gems, and expand the canon of world cinema in multiple directions. Only two 35mm prints (one with photographed English subtitles) of Kummatty survive and are the result of a not-so-distant past when film negatives were copied and then discarded, sometimes leaving behind only projection prints. The two copies were naturally worn-out, very dirty and deeply scratched, one containing a consistent vertical green line on the right-hand side of the image, which required painstaking frame-byframe work to remove. The film’s natural environment, which could be considered one of the main characters of the film, was lit by master cinematographer Shaji N. Karun and had completely lost its rich palette that illuminated the skies, grass, foliage and fields, becoming instead a homogeneous magenta. Thanks to Shivendra Singh Dungarpur, L’Immagine Ritrovata laboratory was able to contact G. Aravindan’s son, Ramu Aravindan, and Shaji N. Karun who helped recapture, as much as possible, the original aesthetics and magical dimensions of the film.

The Outsiders: The Complete Novel 小教父完整導演版 ) 港譯：局外人

[導演的話] 之所以有這個完整導演版，是因為我多年來經常遇到學生反覆問我為什麼這部精彩原著的一些情節，在電影版中消失了。這些問題令我想起我拍這部電影的靈感： 1980 年，一群十二至十四歲的學生寫信給我，請我把這小說拍成電影。當時我聽從了那些年輕影迷的意見，現在我仍然聽從及相信年輕人的意見，所以這個完整導演版是送給他們的。 [修復簡介] 我們用了非比尋常的途徑，找到了組成電影中最精心製作的視覺效果片段的所有部分，並進行重新掃描。幸運的是，哥普拉先生真的把電影資料都好好保存下來，他拍過的都保存下來，因此我們能夠盡可能地使用原始負片去整合電影的場景。對哥普拉先生來說，重要的是呈現出最優良的品質，大家都沒見過這部電影像現在這般美麗如新。

193 RESTORED CLASSICS 修復經典 USA 美國 1983 | English | DCP | Colour | 116min Director Francis Ford Coppola Producer Gray Frederickson, Fred Roos Scriptwriter Kathleen Rowell Cinematographer Stephen H. Burum Editor Anne Goursaud Production Designer Dean Tavoularis Music Carmine Coppola Sound Richard Beggs Cast C. Thomas Howell, Matt Dillon, Diane Lane, Ralph Macchio, Patrick Swayze, Rob Lowe Production American Zoetrope World Sales STUDIOCANAL

Now

(

The Outsiders: The Complete Novel came about after meeting students over the years who repeatedly asked me why certain scenes from S.E. Hinton’s wonderful book were missing from the theatrical version. These questions reminded me about my inspiration for the film. In 1980, a contingent of 12 to 14-year-old students wrote and asked me to make it. I listened to those young fans back then, and I continue to listen to young people now and believe in their opinions, so this complete film version of the novel is for them.

and

Francis Ford Coppola Restoration Notes We took the unusual path of locating all the various elements that went into creating the film’s most elaborate visual effects sequences and re-scanned them. Luckily, Mr. Coppola is an archivist at heart and he kept every piece of film he shot, so we were able to unify scenes from the film using the original camera negative as much as possible. It was important to Mr. Coppola to give this release its best quality presentation, and no one has ever seen this film looking as beautiful and pristine as it does now.

Conversation

法蘭西斯哥普拉 1939 年生於美國底特律，家族為意大利移民。大學畢業後進入加州電影學院專攻電影。以《教父》三部曲( 72、 74 、 90)廣受稱頌，憑《竊聽大陰謀》( 74 )及《現代啟示錄》(79 )兩奪康城影展金棕櫚獎。 SELECTED FILMOGRAPHY 主要作品 1972 The Godfather 教父 1974 The Conversation 竊聽大陰謀 1974 The Godfather Part II 教父續集 1979 Apocalypse Now 現代啟示錄 1992 Bram Stoker’s Dracula 吸血殭屍驚情四百年

Francis Ford COPPOLA was born in 1939 in Detroit, USA into a family of Italian immigrant. He was trained under filmmaker Roger Corman, and directed his first feature, Dementia 13 in 1963. Best known for The Godfather trilogy (72, 74, 90), he also won Palme d’Or at Cannes twice, for The (74) Apocalypse (79).

James Mockoski, Film Archivist and Restoration Supervisor at AmericanZoetrope

Institute Hungary –Film Archive

Director Márta Mészáros Márta Mészáros Nyika Jancsó Éva Kárment Designer Éva Martin Music Zsolt Döme Sound György Fék Cast Zsuzsa Czinkóczi, Jan Nowicki, Anna Polony, Mari Szemes Studio Sales Film

194 RESTORED CLASSICS 修復經典 Hungary 匈牙利 1984 | Hungarian | DCP | B&W | 107min

始自 1984 年的《留給兒女的日記》，瑪特美莎洛斯在自傳式的「日記三部曲」觸及家族歷史。她一直以來難以公開處理這題目。她的父親，一位在史太林大清洗時被殺的雕塑家，在容不下批評的政權統治下被禁談論。「我想在一部政治劇中展現雙親的遭遇：我父親被處決，我母親因傷心過度而亡。他們不該如此離世。審查制度令我不能直接談及這事。」 [簡介] 一如艾麗絲華妲及拉麗莎舍皮科，瑪特美莎洛斯的電影以反建制的視野，及站在與社會制約對立的女性立場而見稱。她在 1976 年曾說：「我迄今所拍的每部電影，主角都是一位獨立女性，她發現處身的環境，必須由自己、為自己作決斷。」她的父親，亦是前衛雕塑家拉斯洛美莎洛斯被殺害，而她在返回匈牙利之後則被送進孤兒院，種種經歷化為她編導《留給兒女的日記》的靈感，成就了一部由個人回憶編織而成的感人傑作。 2021年康城影展 Márta MÉSZÁROS was born in 1931 in Budapest, Hungary. In 1968, she became one of the first women to direct a feature in Hungary with The Girl. In 1975, she became the first female director to win the Golden Bear at Berlinale, for Adoption 瑪特美莎洛斯 1931 年生於匈牙利布達佩斯。 68 年拍成首部劇情長片《女孩子》，是匈牙利史上最早拍出劇情長片的其中一位女導演。75 年憑《領養》榮獲柏林影展金熊獎，為三大影展中首位獲頒最佳電影殊榮的女導演。 SELECTED FILMOGRAPHY 主要作品 1975 Adoption 領養 1984 Diary for My Children 留給兒女的日記 1987 Diary For My Loves 留給吾愛的日記 1990 Diary For My Father And Mother 留給父母的日記 2000 Little Vilma – The Last Diary 小慧瑪 2017 Aurora Borealis: Northern Light 北極光

Cinematographer

Production

Editor

The death of her father, a sculptor killed in the Stalinist purges, was off limits under a regime that would brook no criticism. “I wanted to show in a political drama what happened to my parents because of the Soviet Union: my father was executed, and my mother died of a broken heart. They should not have died that way. It was censorship which stopped me being able to address that directly.”

She touched on her family history in the autobiographical Diary films, beginning with Diary for My Children in 1984, but she was never able to tackle the subject as explicitly as she would have liked.

Interview with Márta Mészáros The Guardian Like that of Agnès Varda or Larissa Shepitko, Márta Mészáros’ cinema is distinguished by its anti-establishment vision and its stance on the side of female characters opposed by the diktats of society. “Each film I have made features an independent woman who finds herself in a situation where she has to make a decision by herself, for herself,” said the filmmaker in 1976.

The death of her father, the avant-garde sculptor László Mészáros, and her placement in an orphanage on her return to Hungary, were all sources of inspiration for the director when she wrote Diary for My Children, a deeply moving feature film based on her personal memories. Cannes Film Festival [導演訪問]

Diary My Children Napló Gyermekeimnek

留給兒女的日記

Production

Scriptwriter

2021

National

Budapest World

for

FOCUS 焦點柔韌之鏡—田中絹代導演作品展 Portraits of Women - A Tribute to Tanaka Kinuyo 溝口健二的靈感繆斯，與小津安二郎、木下惠介等大師合作無間，田中絹代（ 1909–1977 ）在日本影史上佔據至高無上的女優地位，無出其右。銀幕上以出色演技成為日本一代女性象徵，廣受尊崇；鏡頭後執起導筒，技藝一樣超卓，卻可惜未獲同等重視。曾執導六部電影，把女性聲音引進男性當道的日本影壇，以貼身視角刻劃戰後日本婦女的生存歷練以至複雜心緒，更見細緻真實。演活無數淒苦女子的角色，田中鏡頭下的女性，不再只是默默承受磨難的受害者；置身虛偽社會，即使被道德鞭撻、被惡疾纏身以至為愛情背上十字架，自由靈魂依然莊敬自強，以溫柔、赤誠及堅毅擁抱生命與希望。從演戲生涯體驗領悟，將大師美學兼收並蓄，田中絹代以女性的優雅與柔韌，創出細膩而敏銳的導演風格，實力與巨匠不遑多讓。此回顧展除呈現她導與演的超卓才華外，更顯露其超越時代的非凡視野。

A celebrated actress, most notable for her collaborations with legendary directors Mizoguchi Kenji and Ozu Yasujiro, Tanaka Kinuyo (1909-1977) broke ground as only the second female filmmaker in Japanese film history. As a director, she created a body of work every bit as striking and impressive as her achievements in acting, despite often going Makingunderappreciated.theboldmove of directing in an industry devoid of female filmmakers, Tanaka proved her helmsmanship with Love Letter (1953), which won critical acclaim in competition at Cannes. Through her six feature films, she crafted innovative and nuanced portraits of women’s conflicting roles and intricate psyches in Japan’s changing, and often suppressive, post-war society. Revisiting them today, Tanaka’s films affirm her position as a champion of women’s rights, and an outstanding artist deserving of a place in the pantheon of great filmmakers.

This retrospective pays tribute to Tanaka Kinuyo – a screen legend, a pioneering director, and a remarkable woman of extraordinary vision.

田中絹代

PORTRAITS OF WOMEN - A TRIBUTE TO TANAKA KINUYO 柔韌之鏡田中絹代導演作品展

196 Japan 日本 1953 | Japanese | DCP | B&W | 98min Director Tanaka Kinuyo Producer Nagashima Ichiro Scriptwriter Kinoshita Keisuke Cinematographer Suzuki Hiroshi Editor Goto Toshio Production Designer Shindo Seigo Music Saito Ichiro Sound Dogen Yuji Cast Mori Masayuki, Kuga Yoshiko, Kagawa Kyoko, Dosan Juzo, Uno Jukichi Production/World Sales Toho Love Letter Koibumi 戀文 [影評摘錄] 我們建議將《戀文》看作男性通俗劇。影片主要刻劃禮吉的恐懼、矛盾及慾望，關於他沒有能力接受過去及適應現在。影片過了三分之一美智子才首次出現，她的情感也沒有深入描述。鏡頭跟隨禮吉主觀視角的演變，試圖捕捉那些阻礙他理性行事的高漲及矛盾情緒。另一方面，影片也有強調女性的自主力量。美智子找到工作，有沒有禮吉也好，決意重過新生，這種獨立自主的姿態在那個年代的日本浪漫通俗劇難以想像。她的決定及處理過去的方式是基於實際考量。影片從頭到尾展示美智子的過去有不同版本，真相仍是個謎：鏡頭不讓我們進入她的內心世界，去剖析她的個人故事；但與此同時，鏡頭卻穿透禮吉的心靈，讓我們看見他的幻夢和回憶，像那幕幻想倒敘所呈現的。影片焦點在於男性面對的挑戰，要克服失敗的創傷及隨之而來男子氣概的危機，並將之寄寓於女性無拘束性慾的反照中。像當代受歡迎的通俗劇，此片避免描繪女性的性行為，保持傳統的性別架構，但亦沒有簡化的延續或否定。戰爭、戰敗及美軍佔領，在影片中以性別體驗來呈現，從而衍生明顯問題。在這種情況下，必須先捨掉並割棄父權，才能按照戰後的民主理想重塑社會。

The chief focus of Love Letter is ultimately the challenge posed to men to overcome the trauma of defeat and the subsequent crisis of masculinity, allegorically reflected on uncontrolled female sexuality. Like other contemporaneous popular films, it holds the restraint of female sexual behaviour and the necessity for traditional gender structures; however, it does not offer a simplified and safe fantasy of continuity and disavowal… In Love Letter, war, defeat and occupation are presented as gendered experiences, leading to distinct problems. In this case, patriarchy must first be relinquished and emasculated in order to re-establish itself according to postwar democratic ideals. Irene González-López and Ashida Mayu The First Female Gaze at Post-war Japanese Women: Tanaka Kinuyo, Film Director

We propose to read Love Letter as a male melodrama. The film is primarily about Reikichi’s fears, contradictions and desires; about his incapability to come to terms with the past and react to the present. Michiko appears for the first time after a third of the film has already elapsed, and her emotions are not developed in any great way during the film. In an attempt to capture the heightened and conflicting emotions that hinder him from acting in a rational and logical manner, it is the evolution of Reikichi’s subjectivity that the camera instead follows. On the other hand, women’s agency is meaningfully underscored in the film. […]

TANAKA Kinuyo (1909-77) was born in Shimonoseki City, Japan. She is one of the most celebrated stars in the history of Japanese cinema, acting in over 250 films and collaborating with many of the industry’s most important directors. In 1953 she became the second woman director in Japan, and remained active during the post-war Golden Age of Japanese cinema. ( 1909-77 )

生於日本山口縣下關市，是大正及昭和時代最具代表性的日本女演員，與溝口健二、五所平之助、小津安二郎等大師合作無間，畢生參演作品超過 250 部。 53 年初執導筒，成為日本影史上第二位女導演。 FILMOGRAPHY 作品年表 1953 Love Letter 戀文 1955 The Moon Has Risen 月昇物語 1955 Forever a Woman 永恆的乳房 1960 The Wandering Princess 流亡王妃 1961 Girls of the Night 只有黑夜的女子 1962 Love under the Crucifix 阿吟小姐

I think it is easier for a woman to depict aspects of men that they themselves are not aware of, than for a woman to depict a Thatwoman.istrue of The Moon Has Risen, which I will direct with such aspects very much in mind, and I hope dearly that it will become a film that does not betray your expectations.

197 PORTRAITS OF WOMEN - A TRIBUTE TO TANAKA KINUYO 柔韌之鏡田中絹代導演作品展 Japan 日本 1955 | Japanese | DCP | B&W | 102min

Director Tanaka Kinuyo Producer Koi Eisei Scriptwriter Saito Ryosuke, Ozu Yasujiro Mine Shigeyoshi Kondo Mitsuo Designer Kimura Takeo Music Saito Takanobu Sound Kamiya Masakazu

This is my second film as a director, following my debut Love Letter, so I believe I have a better idea of what I should do than I did when I made my first film, and I feel as if I won’t be more nervous than I should Confidencebe. is something I never have enough of, and there is no guarantee that the slightest mistake in one shot won’t cause a film to fall apart in its entirety, so I would like to maintain a modicum of confidence while making this motion picture. From a directing standpoint, perceptions of people from our female perspective are especially important. For example, I am not sure I can evoke humanity laid bare as Yamamura So did with The Black Tide, but Mr. Mizoguchi (Kenji) and Mr. Kinoshita (Keisuke) are able to depict believable female characters despite their own maleness, so I am sure I can depict male characters from my own female Therefore,outlook.

田中絹代

) 生於日本山口縣下關市，是大正及昭和時代最具代表性的日本女演員，與溝口健二、五所平之助、小津安二郎等大師合作無間，畢生參演作品超過 250 部。 53 年初執導筒，成為日本影史上第二位女導演。 FILMOGRAPHY 作品年表 1953 Love Letter 戀文 1955 The Moon Has Risen 月昇物語 1955 Forever a Woman 永恆的乳房 1960 The Wandering Princess 流亡王妃 1961 Girls of the Night 只有黑夜的女子 1962 Love under the Crucifix 阿吟小姐

The Moon Has Risen Tsuki wa noborinu 月昇物語

films

Cast Kitahara Mie, Yasui Shoji, Ryu Chishu, Sano Shuji, Yamane Hisako, Sugi Yoko

這是繼《戀文》後，我執導的第二部電影，我相信較前作更知該當何事，感覺上也應少點緊張。我自知信心永遠不足，一個鏡頭的微小差錯，說不定會導致電影全軍覆沒，因此我拍攝此片時，是懷着誠惶誠恐的心情。站在導演的立場，以女性角度觀察人物至為重要。我不肯定能否像山村聰導演在《黑潮》那樣赤裸地刻劃人性，不過溝口健二及木下惠介雖身為男性，卻能描繪出活靈活現的女性角色，故我相信自己能以女性身份描繪出男性角色。我認為女性刻劃出男性不自知的一面，較女性刻劃女性更容易。我懷着此信念拍攝《月昇物語》，誠盼此片不會辜負你的期望。 TANAKA Kinuyo (1909-77) was born in Shimonoseki City, Japan. She is one of the most celebrated stars in the history of Japanese cinema,

Editor

Tanaka Kinuyo [導演的話] acting in over 250 and collaborating with many of the industry’s most important directors. In 1953 she became the second woman director in Japan, and remained active during the post-war Golden Age of Japanese cinema. ( 1909-77

Production/World Sales Nikkatsu Corporation

Cinematographer

Production

While reading the book my film is based on, Chibusa yo Eien Nare (literal translation: May My Breasts Last Forever), I keenly perceived its femininity from the bottom of my heart, or rather with my whole being. As the book was written by a woman, and as a woman myself, my desire to direct a cinematic adaptation was more extreme and intense than ever before.…

The collapse of the protagonist’s marriage is a fatal event that cleaves a woman’s life in two, and what’s more, there is her unrecoverable torment at being the mother of a child she can no longer live with, which filled me with rage at the fragility of a woman’s lot in life. How on earth can a woman go on living after that? In the case of the main character in question, Nakajo Fumiko, all she can do from day to day is immerse herself in her passion for creating poetry. To make matters worse, she is forced to deal with the abominable death sentence that is breast cancer. Eventually, she loses her breasts, is deprived of her womanhood, and is robbed of her youth, not to mention being forced to abandon her beloved children. The plight of this ill-fated beauty made me painfully aware of the immeasurable impermanence of the female body.

Tanaka Kinuyo

198 Japan 日本 1955 | Japanese | DCP | B&W | 110min Director Tanaka Kinuyo Producer Koi Eisei, Sakagami Shizuo Scriptwriter Tanaka Sumie Cinematographer Fujioka Kumenobu Editor Nakamura Tadashi Production Designer Nakamura Kimihiko Music Saito Takanobu Sound Kamiya Masakazu Cast Tsukioka Yumeji, Hayama Ryoji, Mori Masayuki, Sugi Yoko, Osaka Shiro Production/World Sales Nikkatsu Corporation Forever a Woman (a.k.a. The Eternal Breasts) Chibusa yo eien nare 永恆的乳房 [導演的話] 我讀影片改編的原著小說《願乳房永恆》時，從心底以至全身皆感受到其女性氣質。此書由女性所寫，而我身為女性，把小說改編為電影的渴望極為熾熱強烈。能有機會拍成電影，我深感榮幸。女主角婚姻破裂是毀滅性的，把她的生命一分為二，更難以彌補的創傷是要母子分離，女性的脆弱、一生要承受的苦難令我深感憤怒。教她怎能活下去？女主角中城富美子日復日只能埋首於對詩歌的熱愛之中。更糟糕的是，她被迫面對乳癌帶來的死亡極刑。最終她失去乳房，被奪去女性身體的象徵，被偷走青春，更被迫捨棄最愛的孩子。這位薄命紅顏的遭遇，令我沉痛地明白女性身體的易變無常。書中的詩歌被譽為石川啄木名作的女性版，勾喚富美子短暫的一生，被連串厄運纏繞，但同時她的直率勇氣亦令我感同身受。透過刻劃只有女性才能明白的情感幻變，我希望能描繪出富美子的生命片段，捕捉她的女性氣質。 TANAKA Kinuyo (1909-77) was born in Shimonoseki City, Japan. She is one of the most celebrated stars in the history of Japanese cinema, acting in over 250 films and collaborating with many of the industry’s most important directors. In 1953 she became the second woman director in Japan, and remained active during the post-war Golden Age of Japanese cinema. 田中絹代 ( 1909-77 ) 生於日本山口縣下關市，是大正及昭和時代最具代表性的日本女演員，與溝口健二、五所平之助、小津安二郎等大師合作無間，畢生參演作品超過 250 部。 53 年初執導筒，成為日本影史上第二位女導演。 FILMOGRAPHY 作品年表 1953 Love Letter 戀文 1955 The Moon Has Risen 月昇物語 1955 Forever a Woman 永恆的乳房 1960 The Wandering Princess 流亡王妃 1961 Girls of the Night 只有黑夜的女子 1962 Love under the Crucifix 阿吟小姐

PORTRAITS OF WOMEN - A TRIBUTE TO TANAKA KINUYO 柔韌之鏡田中絹代導演作品展

[…] By appealing to fluctuating emotional sensibilities that only women will fully understand, I hope to depict Nakajo Fumiko exclusively through episodes in her life that capture her femininity.

The Wandering Princess Ruten no ohi 流亡王妃 The position of Tanaka regarding the wartime past was not one of radical critique, as advocated by the Japanese New Wave directors, but conformed to the dominant narratives of post-war Japanese cinema and society. Like many Japanese who experienced the constraints of the war and of Japanese militarism, and as a filmmaker who participated in propaganda films supporting the wartime ideology, Tanaka most probably felt herself a victim of those historical circumstances and looked indulgently at the past from that point of view. In fact, as Tanaka affirmed, she wasted the most productive period of her acting career as a result of the pause caused by the war. In this sense, Tanaka’s intentions in directing The Wandering Princess were presumably not aimed at offering a critical indictment of the wartime past, but rather at representing a resilient heroine and her love story, going beyond the construction of female characters as mere bearers of ideological positions or projections of male subjectivities. As a result, The Wandering Princess offered an affirmative portrayal of a woman’s historical experience, which, following the aesthetic and narrative conventions of women’s films, represented a genuine female subjectivity in post-war Japanese cinema.

directors. In

田中絹代 (

Alejandra Armendáriz-Hernández Female Authorship, Subjectivity and Colonial Memory in Tanaka Kinuyo’s The Wandering Princess (1960) [影評摘錄]

《流亡王妃》聚焦於一位身處滿州國，困於日本殖民及軍國主義歷史浪潮的日本女子的無力狀況。田中在某程度上呈現了戰爭罪行、受害情結及追昔懷舊的矛盾，正如大部分戰後日本電影，皆以通俗劇風格刻劃戰爭及日本帝國。此片描寫女子克服困境，表露情感與慾望，尋覓求生與去愛的力量，以一己之力對抗歷史厄運。由此觀之，田中的女英雄體現了一種全新主體性。有別於日本電影新浪潮的導演，田中對於戰爭歷史沒有採取尖刻批判的立場，而是順應日本戰後電影及社會的主流論述。正如不少經歷戰爭及曾受日本軍國主義制約的日本人，以及作為一個曾拍攝宣傳電影支持戰爭思維的導演，田中極有可能覺得自己是這些歷史情況的受害者，並沉迷於以此角度觀看過去。田中亦曾自認因戰爭導致的停擺，令她浪費了演員生涯裏最豐盛的歲月。由此看來，田中執導《流亡王妃》的意圖，該不是指向尖刻批判過去的戰爭，而是呈現一位堅韌女子與她的愛情故事，超越建構女性角色純為表達意識形態，或男性主觀角度的投射。因此，《流亡王妃》為女性處身歷史的經歷描繪出一幅正面圖像，在依循女性電影的美學和敘事常規下，代表了戰後日本電影真正的女性主義觀點。

TANAKA Kinuyo (1909-77) was born in Shimonoseki City, Japan. She is one of the most celebrated stars in the history of Japanese cinema, acting in over 250 collaborating with many of the industry’s most important 1953 she became the second woman director in Japan, and remained active during the post-war Golden Age of Japanese cinema. 1909-77

films and

199 PORTRAITS OF WOMEN - A TRIBUTE TO TANAKA KINUYO 柔韌之鏡田中絹代導演作品展 Japan 日本 1960 | Japanese/Putonghua | DCP | Colour | 102min Director Tanaka Kinuyo Producer Fujii Hiroaki Scriptwriter Wada Natto Cinematographer Watanabe Kimio Editor Natori Isao Production Designer Mano Shigeo Music Kinoshita Chuji Sound Nishii Kenichi Cast Kyo Machiko, Funakoshi Eiji, Kindaichi Atsuko, Higashiyama Chieko, Sawamura Sadako Production Daiei World Sales Kadokawa Corporation

田中絹代

This is a film not only made by a woman but also collectively created by women: a novelist, a screenwriter and a director. They all problematise, in their own ways, women’s historical experiences within existing visual and narrative conventions, while relating it to a wider, historically conditioned social structure. […] That the film was made by women for women about women does not make Girls of the Night women’s cinema. Through the act of telling a story about women who try to define themselves in connecting and negotiating with “different” women, which is the act of invoking women’s collectivism, this film becomes women’s cinema. Bringing women’s points of view to the fore – which is to say, positioning women as social subjects – women’s discourse critically juxtaposes the positions that see women as only sexual objects. If this discourse works unsystematically and incoherently “through a variety of articulations, not always aesthetic, but semantic, ideological, or social” in the film text, then Girls of the Night provides one such case. Without relying on formal strategy or stylistic innovations, it simply and modestly addresses solidarity, conflict, difference and friendship within a conventional form. Female sexuality in Japan was often narrated a shift from pre-war chastity and innocence to post-war liberation and excess. Girls of the Night, however, imagines and tells a “minor” story of women and their communities aspiring to a social existence against the official narrative. Yuka Kanno Panpan Girls, Lesbians and Post-war Women’s Communities: Girls of the Night (1961) as Women’s Cinema

200 Japan 日本 1961 | Japanese | DCP | B&W | 93min Director Tanaka Kinuyo Producer Nagashima Ichiro, Shiino Hideyuki Scriptwriter Tanaka Sumie Cinematographer Nakai Asakazu Editor Hirose Chizuru Production Designer Kojima Motoji Music Hayashi Hikaru Sound Nagaoka Kenji, Nishio Noboru Cast Hara Chisako, Natsuki Yosuke, Kita Akemi, Naniwa Chieko, Nakakita Chieko Production/World Sales Toho Girls of the Night Onna bakari no yoru 只有黑夜的女子 [影評摘錄] 《只有黑夜的女子》不是由一位而是多位女性，包括作家、編劇及導演集體創造的成果。她們以各自的方式，在當代影像及敘事的規範下，刻劃出女性在過去經歷的問題，並將之聯繫到更廣闊的、受歷史影響的社會架構。由女性製作、為女性而拍、並關於女性的電影，不足以令《只有黑夜的女子》成為一部女性電影。透過講述女性的故事，而這些女子嘗試與其他不同女性聯繫和交涉，藉此定義自己，因而牽引出女性的集體精神，才令《只有黑夜的女子》成為一部女性電影。女性論述帶出女性觀點，將女性作為社會主體的定位，與女性只被視為性交對象的定位並列對比。若說此種論述沒有系統且毫不連貫，透過多種表達方式而不一定展現美學，但電影文本帶有語義、意識形態及社會角度，那麼《只有黑夜的女子》便是一例。沒有依賴形式策略或新穎風格，此片在傳統形式下，簡單而恰當地探討團結、衝突、分歧及友情等主題。在日本，女人的性特質常被論述為由戰前的貞潔和純真，變為戰後的解放和過度，不過《只有黑夜的女子》卻想像及講述出一個「細微」的女性故事，她們的群體有別於官方論調，渴望取得社會地位。

PORTRAITS OF WOMEN - A TRIBUTE TO TANAKA KINUYO 柔韌之鏡田中絹代導演作品展

Wakatsuki

Cast Arima Ineko, Nakadai Tatsuya, Nakamura Ganjiro, Takamine Mieko, Osamu Sales Shochiku Co., Ltd

Imogen

Married to Cinema: The Films of Kinuyo Tanaka Film Comment, March 21, 2022 [影評摘錄] 《阿吟小姐》是田中最後執導之作，以十六世紀末期將軍豐臣秀吉下令驅逐基督教為背景，寫一對苦命戀人的揪心故事。雖然以烽火連天的戰場揭開序幕，但這部時代劇迴避武裝戰鬥場面，反聚焦於看似寧靜、衝突卻不遑多讓的情境：在極端宗教熱誠與人性原始慾望之間；在權力明目張膽的濫用與茶道呈現的謙遜和氣節之間。傳奇茶道大師千利休（中村雁治郎飾）的養女阿吟（有馬稻子飾，她亦是此片的製作公司的創辦人），向已婚的虔誠基督徒武士右近（仲代達矢飾）大膽示愛，聲稱願意受罰下地獄永不超生，只求與他一夕相好。正如她其他的作品，田中在此片處理女性的慾望，以及女性的團結一致，也是非常坦率和滿懷同情的。影片初段，阿吟目睹可怕的行刑隊伍，要將一個拒絕遵守慣例向將軍獻上初夜的女人（岸惠子飾）釘上十字架。阿吟凝視着這位叛逆的囚徒，憐憫之餘更是驚嘆，有感而發：「她看來充滿朝氣！」 TANAKA Kinuyo (1909-77) was born in Shimonoseki City,

田中絹代

Production/World

Scriptwriter Narusawa

Takizawa

Cinematographer Miyajima

Editor

201 PORTRAITS OF WOMEN - A TRIBUTE TO TANAKA KINUYO 柔韌之鏡田中絹代導演作品展 Japan 日本 1962 | Japanese | DCP | Colour | 102min

Director Tanaka Kinuyo Tsukimori Sennosuke, Shigeru Masashige Yoshio Sagara Hisashi Hayashi Fukuyasu Masahiro

Production Designer Osumi Junpei Music

Hikaru Sound

Producer

films

Love Under the Crucifix Ogin-sama 阿吟小姐

Love Under the Crucifix, Tanaka’s last film as a director, is a lush tale of doomed lovers set against the backdrop of warlord Toyotomi Hideyoshi’s campaign to stamp out Christianity in the late 16th century. Although it opens with images of a flaming battlefield, this jidai-geki (period film) eschews armed combat to focus on quieter but no less fierce conflicts: between austere religious devotion and earthly passion; between ostentatious, abusive power and the humility and integrity expressed by the tea ceremony. Ogin (Arima Ineko, a founder of the company that produced the film), the stepdaughter of legendary tea master Sen no Rikyu (Nakamura Ganjiro), boldly declares her love for the pious, and married, Christian samurai Ukon (Nakadai), saying that she would accept eternal damnation just to have him once. As in the rest of her work, Tanaka’s treatment of female desire – and female solidarity – is remarkably frank and sympathetic here. Early in the film, Ogin witnesses a gruesome procession taking a woman (Kishi Keiko) to be crucified for refusing to comply with a warlord’s customary right of droit du seigneur. She gazes at the defiant captive with more awe than pity, observing, “She looks so alive!” Sara Smith Japan. She is one of the most celebrated stars in the history of Japanese cinema, acting in over 250 and collaborating with many of the industry’s most important directors. In 1953 she became the second woman director in Japan, and remained active during the post-war Golden Age of Japanese cinema. ( 1909-77

202 Japan 日本 1974 | Japanese | 35mm | Colour | 121min Director Kumai Kei Producer Sata Masayuki, Shiino Hideyuki Scriptwriter Hirosawa Chikae, Kumai Kei Cinematographer Kanau Mitsuji Editor Takashizu Tatsuji Production Designer Kimura Takeo Music Ifukube Akira Sound Ohta Mutsutoshi Cast Kurihara Komaki, Tanaka Kinuyo, Takahashi Yoko, Tanaka Ken Production/World Sales Toho Sandakan No. 8 Sandakan hachibanshokan bohkyo 望鄉 [導演的話] 這部影片之所以如此受歡迎，不外是因為阿崎婆的人生經歷很動人，另外，當然是因為扮演阿崎婆的田中絹代演技卓越。像阿崎婆那樣不論過去和現在都極為不幸的女人是很少有的。只就這一點，田中在拍攝之前就為如何塑造好這樣一個角色頗費了一番苦心。據我了解，田中在漫長的演員生涯中曾有好幾次瀕臨絕望邊緣──她想過自殺。晚年，她也像阿崎婆一樣過着孤獨生活……最初，她對這角色還有些困惑，但很快就找到了她們之間的共通點……不知不覺間變得與阿崎婆一樣了。「當回到家中獨自一人的時候，我就開始跟現在住在天草一帶的阿崎婆聊天。她說：『田中，那個戲，你可得加油啊，否則怎麼能演好？』」田中講這段話時的表情是那樣幸福，簡直像少女那樣天真。她能把這一沉重的題材和角色表演得如此輕鬆，可能是由於她並沒有因孤獨而失去少女的純真，而她又把這種純真作為對人生的一種希望，明快地展現在銀幕上，從而打動全世界觀眾的心。《熊井啟的電影》，熊井啟著 KUMAI Kei (1930-2007) was born in from Azumino, Nagano prefecture, Japan. Starting out as an assistant director, he directed his first film, Teigin jiken: Shikeishu, in 1964. His 1986 film The Sea and Poison won the Silver Bear for Special Jury Prize at Berlinale, and later Death of a Tea Master (89) garnered the Silver Lion at Venice. 熊井啟 ( 1930-2007) 生於日本長野縣南安曇郡， 1953 年進入日活公司擔任助理導演， 64 年執導首作《帝銀事件：死刑囚》。憑《海與毒藥》 (86) 獲柏林評審團特別獎，再憑《茶道大師千利休》(89) 獲威尼斯銀獅獎。 SELECTED FILMOGRAPHY 主要作品 1968 The Sands of Kurobe 黑部之太陽 1974 Sandakan No. 8 望鄉 1976 Cape of North 北方岬 1986 The Sea and Poison 海與毒藥 1989 Death of a Tea Master 茶道大師千利休 2002 The Sea Is Watching 大海的見證 Sandakan No. 8 appears conspicuously accessible. It’s a soberly inspirational chronicle of suffering and endurance, evoking elemental, heartfelt emotions without becoming simpleminded or mawkish. […] The movie appears to combine what may have been the journalist’s ambiguous and somewhat guilt-ridden relationship to her subject with a broader vision - perhaps the writer’s, perhaps the filmmaker’s - of the historical costs of feudalism and female servility to Japanese society. Osaki’s ordeal carries an intimate dramatic impact, but that impact is enhanced by a historical perspective, which views her and other peasant girls who shared her fate - the Karayuki-san - as pawns in a strategy of colonial expansion and settlement pursued by Imperial Japan. […]

The movie would be worth seeing for one feature alone, the magnificent performance of the late, illustrious Kinuyo Tanaka as the old Osaki. Tanaka, who died last spring, began her screen-acting career in 1924, at the age of 14, and she became the first Japanese woman to direct a theatrical film.

Tanaka has a facility for projecting contrasting moods of anxiety and contentment that are disarmingly powerful. The quickness and the touching transparency of her expressions seem to quicken and expand your own susceptibilities. She’s an arresting and sensitising presence on screen. Gary Arnold From Japan, a Heartfelt Tale, Washington Post, October 7, 1977

PORTRAITS OF WOMEN - A TRIBUTE TO TANAKA KINUYO 柔韌之鏡田中絹代導演作品展

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鳴謝 ACKNOWLEDGEMENTS 3 NG Film 3H GreenerGoldenGoldenGoetheGerardFreespace,FreeFortuneFortissimoFocusFinecutTheFilmsFIJIFandangoEntertainmentEmperorEMPElleELLEEhlermannEdkoDogwoofDcinema.coDanishCreateCosmopolitanCoproductionConsulateConsulateConsulateConsulateConsulateClementCinetecaChineseChinaCharadesCercamonCAT&DocsCarlottaBlockBlissBestBanksideBandoBackboneAutourAutlookAustrianAuAtomsAsmikAsianAsianArtHoodAnastasiaAlphaAcornProductionsDesignLtd.VioletVeberEntertainmentFilmAwardsAcademyShadowsAce&VoidPraxinoscopeFilmsFIlmsdeMinuitEventsLtdàParteFilmsFriendForeverConcepts2DistributionFilmsDailyFilmMarketdiBolognaShiledGroupGeneralofCanadaGeneralofFranceinHongKong&MacauGeneralofIrelandGeneraloftheRepublicofPolandGeneralofTurkeyOfficeHongKongFilmInstituteKingTaiHoLtd.Films&AgneskirchnerFilmproduktionDriverCinemasMotionPicturesExpoSalesWaterBoutiqueFilmFoundation/WorldCinemaProjectFilmsLimitedFilmsStarMediaLtd.StoneProductionCo.,Ltd.WKCDOrtinInstitueNetworkAsiaSceneCo.,Ltd.GrassCultureCo.,Ltd. Guillaume De Seille HanWay HillerHereticHarperHarbourFilmsCityBazaarOutreachPharmaCo. Ltd. TheHK01Hollywood Reporter Homegreen Films Hong Kong Arts Centre Hong Kong Arts Development Council Hong Kong Design Centre Hong Kong Film Archive Hong Kong Times Square Hong Kong Tourism Board Hong Kong Trade Development InterfaceIndieCouncilSalesVideo Production Limited iQIYI, JiSQUAREInc.Design& Production Limited Japan Foundation JET Magazine Jet Tone KoreanKinologyKingstartKadokawaFilmsCorporationCompanyCulturalCenter in Hong Kong Latido Films Le LeisurePacteand Cultural Services NationalNationalNationalNationalNanakoMovie6MoleskineM-Linemk2MiyuMilkMenisnMementoMeiMediaMatrixTheMATCHmasklabManiMakerVilleM+LuxboxLUXLikeLightsLightLifestyleLesLesLektoDepartmentFilmsduLosangeValseursJournalConeOnJapanDistributionCinemaStonePicturesCUTMatchFactoryPromotionLimitedAsiaAhEntertainmentGroupFilmsInternationalFilmProductionMagazineDistributionFilmsDistributionTsukidateFilmandTelevisionSchoolFilmArchiveofJapanFilmBoardofCanadaGeography PortugalPlaytimeThePistaPIAPascaleTheP-articlesParkParallaxOutsiderOrangeOneOneNipponNikkatsuNewneugerriemschneiderEuropeFilmSalesCorporationTelevisionNetworkCorporationCoolCoolPicturesStudioPicturesInternationalSalesCircusPartyFilmSalesRamondaFilmFestivalBPlaymakerFilm-Portuguese Film PREMIEREAgency Elements Pulsar SandyRocketRiseReekRedianceARADIATORPyramideContentInternationalIPSalesReallyHappyFilmPeakFilmsFilmsScienceEddieTommyAssociates Ltd SCHEDULE 2 LTD Screen International Shaw ShochikuShellacStudiosCo., Ltd. SonySixpackfilmSil-MetropoleCorporation of HK Limited Square StandardEyesDigital Production Company Strategic Public Relations Group Yang-MingXCEPTWildWeibo.comWeWeVoodooVarietyURBTIXUniverseUniversalUnifranceUltraTrueTotemTohoToeiToeiTaskovskiTamasaSubmarineSTUDIOCANALEntertainmentDistributionFilmsCompany,Ltd.VideoFilmsColours8PicturesPicturesInternationalFilmsFilmsDistributionPicturesBunchCultural&CreativeCo.,Ltd. KamilaYMDH ANDINI Dario HamishKelvinKUEKDonsaronMichaelYuliyaYoung-wooNikiMahboobehJönsDominikAzadehJoyceKarenHONGRavenKKAliceMikhaëlAlysonMahaManiHAIsabelleRuslanJoeyMarynaMehmetDavidFranckLucJean-PierreAleksanderLászlóMarkAvivaEricSandyOscarCandyJulianWinnieJudeDorothyChrisJennyAnthonyNicholWinnieSamuelSunnyTitusMichaelJasonFrankClementAdelineAlisonRuthAbhinandanARGENTOBANERJEEBECKERMANNBERTHOCHANCHANCHANCHANCHANCHANCHANCHANCHANCHAUCHENCHENGCHEUNGCHEUNGCHEUNGCHEUNGCHIUCHOICHOICHOICHOUCHOWCOUSINSCSUJADANDADARDENNEDARDENNEDIONEASTEALBahadırERERGORBACHFANFEDOTOWGLACHANTLeDiemHAGHIGHIHAJHAUHERSHOHOHOSung-eunHUIHUNGJAFARIJAKUSZKOJÖNSSONKALAEEKARIMIKIMKIMKOCHKOVITVANITCHASheeHengKWOKLAM 214

Mandy AlejandroMatthewPinkyJosieYoeeLorenexCarrieYoungSandyMassimoSamsonLAMLAWLECHILEEHoLEELEUNGLEUNGLEUNGLINLIULOLOAYZA GRISI Kayla HOHEUNGFUNGCHANCHANCHANCanGraceKarenKKNicholOliviaJamesKevinRaymondRossArielPhilPaulJaneSarahLoisShaunakUlrichAlonBenjaminAlexPauloBazRaymondEmmanuelleCleonaMellHumphreyAnnaSebastianPedroFendaLOOLYNMAIAMEISENEMESNGNGAINÍCHRUALAOINICOTPHATHANAVIRANGOONPOONPIRIYAPORTUGALPRITZREESCHWARZSEIDLSENSITSONGTAITAMTIPPETTEstebanCAYERCHENLAUMAMARSHYEUNGCHAUHOHUINGWONGCheuk-namTsz-chungWing-hangTsz-yanChi-fungKwan-wing 朗天林瀚光張偉雄陳志華馮嘉琪劉偉霖 HO PATLUKLIULAWLAMYim-tingMei-waChung-hinYin-tingKwan-yeeYuk-ying SO Tsz-kin TO WONGWONGWONGTSUIYat-manYat-longHung-keiWing-yanYuk-yi Luka WONG YAN Wai-ka YAM OliviaCoraYim-lanYEUNGYEUNG WU YIPYIPYANWing-lamWai-kaChe-waiChe-wun 撰文/翻譯 CONTRIBUTORS / TRANSLATORS 字幕翻譯 SUBTITLE TRANSLATORS 字幕工作組 SUBTITLING TEAM Jacqueline TONG Felix HelenaOliviaEstherYANWUTracyWONGNormanFredWinnieRitaRayWinnieTSANGTSANGTSETSETSETSUIWANGWeng-chonWUDe-ChuenWai-kaYEUNGYEUNGYOUNG YUASA Masaaki Angel YUEN 凹凸鏡台北金馬影展字花明周文化是日觀影看電影香港電影評論學會號外誠品書店電笠樂活深圳導筒講。鏟。片丁寧遠久美成列小美孔大山木星王偉倫王磊朱小豐何阿嵐何爵天余香凝吳君如李康生李焯桃李詩卉沙丹卓翔林奕華邱炯炯金華青查柏朗耐安唐福睿朗天翁子光袁志聰袁建滔康廷@好青年荼毒室張孝全張偉雄張婉婷許業生郭富城陳可辛陳果麥兆輝麻生汶喬奕思曾覓曾肇弘游學修登徒馮志強馮麗芬雷磊劉偉霖蔡明亮鄭中基鄭宇成黎肖嫻謝文明劉偉霖蘇瑞琴繆詠華李佳純鄭宇成 215

3 NG Film T 886 02 27668610 E yuki@creamfilm.com.tw 3H Productions T 886 02 2239 5822 E 3hhh.films@gmail.com Alpha Violet T 33 1 47 97 39 E info@alphaviolet.com ArtHood Entertainment T 49 (0) 176 70 18 86 56 E masche@arthoodentertainment.com Asian Shadows T 33 670650122 E contact@chineseshadows.com Asmik Ace T 81 70 4547 4901 E KatoMai@jupiter.jcom.co.jp Atoms & Void T 44 07951744968 E contact@atomsvoid.com Austrian Films T 43 1 526 33 23 E office@afc.at Autlook FIlms T 43 670 2087881 E salma@autlookfilms.com Bankside Films T 44 20 7636 6085 E stephen@bankside-films.com Best Friend Forever T 33 633 677 100 E sales@bffsales.eu Bliss Concepts T 852 2892 1230 E scorpio@mcmug.hk Block 2 Distribution T 852 2336 1102 E sales@jettone.net TCAT&Docs 33 1 44 61 77 48 E info@catndocs.com TCercamon 971 566063824 E dorian@cercamon.biz TCharades 33 12 28 59 13 E pierre@charades.eu Coproduction Office T 33 156026000 E sales@coproductionoffice.eu Cuban Film Institute T 53 78337586 E ana.isabel@audiovisuales.icaic.cu TDogwoof 44 207 2536244 E info@dogwoof.com Edko Films T 852 2528 8097 E lamjan@edkofilm.com.hk Ehlermann & Agneskirchner FilmTproduktion 49 30 219 699 06 E mail@diegregors-derfilm.de Elle Driver T 33 1 56 43 48 70 E sales@elledriver.eu Fandango Sales T 39 06 8521 8155 E sales@fandango.it Films Boutique T 49 30 69 53 78 50 E contact@filmsboutique.com TFinecut 822 569 8777 E cineinfo@finecut.co.kr Focus Films Limited T 852 3120 3388 E jannie@infinitusfilms.com Fortune Star Media Ltd. T 852 3996 3700 E fortunestar@startv.com.cn Free Stone Production Co., Ltd. T 81 (0)90 9102 8671 E fumiko.nagata@freestone.jp General Pictures T 91 9847070307 E vlcprakashexp@gmail.com Golden Network Asia T 852 2751 1886 E clarence@goldnetasia.com Golden Scene Co., Ltd. T 852 2265 9999 E sales@goldenscene.com Greener Grass Culture Co., Ltd. T 886 2 2719 8331 E yhc.patricia@gmail.com Guillaume De Seille T 33 678180105 E guillaume@arizonafilms.net HanWay Films T 44 20 7290 0750 E info@hanwayfilms.com Heretic Outreach T 30 2106005260 E christina@heretic.gr Homegreen Films T 886 2 22171028 E hgfilmsinfo@gmail.com Indie Sales T 33 1 44 83 02 27 E festival@indiesales.eu iQIYI, Inc. T 86 1060 2510 E tuxinyu@qiyi.com Kadokawa Corporation T 81 80 7233 6972 E mori-c@kadokawa.jp TKinology 33 9 51 47 43 44 E festivals@kinology.eu Latido Films T 34 689 567 705 E mario@latidofilms.com Le Pacte T 33 144 695 959 E m.perretcortassa@le-pacte.com TLuxbox 33 171379934 E festivals@luxboxfilms.com Majestic Grace Entertainment Ltd. T 886 933 032 801 E fion.hung@majesticgrace.co Mani Stone Pictures T 86 15109713523 E tibetmovie@126.com The Match Factory T 49 221 539 70 90 E info@matchfactory.de Media Asia T 852 2314 4288 E wwdist@mediaasia.com Mei Ah Entertainment Group T 852 2751 3388 E webmaster@meiah.com Memento Films International T 33 1 53 34 90 39 E sales@memento-films.com mk2 Films T 33 1 4467 3111 E intlsales@mk2.com M-Line Distribution T 82 2 796 2425 E sales@mline-distribution.com National Film Institute Hungary – Film TArchive 36 202592835 E nagy.tamara@nfi.hu New Europe Film Sales T 48 609 804 296 E festivals@neweuropefilmsales.com Nikkatsu Corporation T 81 35 689 1014 E international@nikkatsu.co.jp Nippon Television Network Corporation T 81 (0)362153028 E kimura-a.stf@ntv.co.jp One Cool Pictures T 852 2622 7501 E info@onecool.com Orange Studio T 33 1 5736 1111 E orangestudio@orange.com Outsider Pictures T 1 3109510878 E paul@outsiderpictures.us Parallax International Sales T 49 15739347014 E info@parallaxchina.com Park Circus T 44 0141 332 2175 E jack@parkcircus.com WORLD SALES & PRINT SOURCES The Party Film Sales T 33 1 76 21 51 78 E sales@thepartysales.com Pascale Ramonda T 33 6 62 01 32 41 E pascale@pascaleramonda.com The Playmaker T 49 89 41 32 57 81 28 8 E worldsales@playmarker.de TPlaytime 33 1 53 10 33 99 E info@playtime.group Pulsar Content T 33 783983095 E iperrier@pulsarcontent.com Pyramide International T 33 1 42 96 02 20 E sales@pyramidefilms.com A Really Happy Film T 852 3618 4588 E arhfhk@justcreative.studio TRediance 33 7 85 80 45 97 E jing@rediancefilms.com Rocket Science T 44 207 434 0032 E info@rocket-science.net TShellac 33 4 95 04 95 92 E egle.cepaite@shellacfilms.com Shochiku Co., Ltd. T 81 3 6260 4432 E kohei_miyamoto@shochiku.co.jp TSil-Metropole 852 27805355 E shirley@silmetropole.com Square Eyes E info@squareeyesfilm.com TSTUDIOCANAL 33 171350446 E Francois.ragueneau@studiocanal. com Submarine Entertainment T 1 212 625 1410 E dan@submarine.com Taskovski Films T 387 65 920 857 E festivals@taskovskifilms.com Toei Video T 81 3 3535 7621 E okawara@toei-video.co.jp TToho 81 3 3591 3530 E e_nakagawa@toho.co.jp Totem Films T 33 6 30 84 75 75 E nuria@totem-films.com True Colours T 39 06 37352334 E devid@truecolours.it 216

Tsukidate Nanako T 33 664747281 E nanako775t@yahoo.co.jp Ultra 8 Pictures T 647 895 8846 E colin@ultra8.ca United Talent Agency T 31 02466017 E mskassistant@unitedtalent.com Universal Pictures International T 44 20 3618 8000 E festivals.mailbox@nbcuni.com Universe Films T 852 2416 3008 E distribution@uih.com.hk EVersatile pboye@versatile-films.com Voodoo Films T 40 21 666 48 27 E sales@voodoofilms.ro We Distribution T 852 2366 1622 E sales@wedistribution.com Wild Bunch T 33 6 50 14 03 60 E feripret@wbinter.eu Yang-Ming Cultural & Creative Co., TLtd.886 930855910 E yujg0612@hotmail.com Yuliya Kim E kzf.kim@gmail.com SHORT FILM PROGRAMMECOMPETITIONI Adjusting Square Eyes E info@squareeyesfilm.com Bestia Miyu Distribution T 33 984 07 04 41 E festival@miyu.fr Blue Has No Dimensions Portugal Film - Portuguese Film TAgency 351 213 466 172 E pf@portugalfilm.org Displaced RADIATOR IP Sales T 32 477 63 27 46 E ben@radiatorsales.eu Trap Anastasia Veber T 7 (999) 238 25 53 E agent@anastasiaveber.com Will You Look at Me Lights On T 39 366 181 2097 E lightson@lightsonfilm.org SHORT FILM PROGRAMMECOMPETITIONII The Bones Pista B T 56 9 9837 1435 E lucasengelc@gmail.com Good Day Fenda Lyn T 886 932 902 183 E fenda1217@gmail.com A Nonconformist Donsaron Kovitvanitcha T 66 83 710 1238 E donnyhwd@hotmail.com North Pole Lights On T 39 366 181 2097 E lightson@lightsonfilm.org The Spiral TRediance 33 7 85 80 45 97 E jing@rediancefilms.com What Remains Portugal Film - Portuguese Film TAgency 351 213 466 172 E pf@portugalfilm.org SHORT FILM PROGRAMMECOMPETITIONIII Agrilogistics Gerard Ortin T 44 7542 507936 E gerard.ortin@gmail.com Bird in the Peninsula Miyu Distribution T 33 984 07 04 41 E festival@miyu.fr Love, Dad Miyu Distribution T 33 984 07 04 41 E festival@miyu.fr Memoir of a Veering Storm Lights On T 39 366 181 2097 E lightson@lightsonfilm.org Orthodontics Menisn Film Production T 98 935 787 0743 E menisnfilm@gmail.com Sideral Les Valseurs T 33 1 71 39 41 62 E distribution@lesvalseurs.com Sycorax Bando à Parte T 351 961 806 250 E sales@bandoaparte.com WORLD ANIMATION Alice on the Beach Wu De-Chuen T 886 0921 659585 E wudc0101@gmail.com Anxious Body Miyu Distribution T 33 984 07 04 41 E festival@miyu.fr A Bite of Bone Au Praxinoscope T 81 3 4285 1666 E info@praxinoscope.jp The Fourth Wall Mahboobeh Kalaee T 98 919 153 7728 E m.kalaee@gmail.com Impossible Figures and other stories I National Film Board of Canada T 1 514 283 9133 E festivals@nfb.ca Mui Wong Weng-chon T 853 6619 2768 E wongwc530@gmail.com Zoon Miyu Distribution T 33 984 07 04 41 E festival@miyu.fr WORLD ANIMATION FOR ADULTS House of Existence MATCH CUT T 82 010 4762 0240 E matchcutworks@gmail.com Love in Times of Coal-Based Economy TLekto 48 505 324 338 E info@letko.co Perfect City: The Mother Wang Lei T 86 13603064835 E 417916057@qq.com Soft Animals National Film and Television School T 44 1494 731472 E festivals2@nfts.co.uk Steakhouse Miyu Distribution T 33 984 07 04 41 E festival@miyu.fr Swallow the Universe Autour de Minuit T 33 1 42 81 17 28 E zoe@autourdeminuit.com Under the Skin, the Bark Franck Dion T 33 6 08 15 21 44 E franckdion@gmail.com AVANT GARDE SHORTS PROGRAMME Berlin Feuer Pedro Maia T 49 176 24608771 E maiapedro@gmail.com Europa LUX Distribution T 44 20 3141 2960 E festivals@lux.org.uk In and Out a Window Light Cone T 33 1 46 59 01 53 E lightcone@lightcone.org The Sower of Stars Lights On T 39 366 181 2097 E lightson@lightsonfilm.org Train Again TSixpackfilm 43 1 5260990 E office@sixpackfilm.com 217

影片索引 INDEX OF FILMS 71 4 Faces of Eve 4 面夏娃 114A Chiara 逆女成人禮 64Adjusting 調教你 180Afterwater 心湖浮影 68Agrilogistics 溫室的日與夜 98Ahed's Knee 膝控大導演 171Alice on the Beach 當鯨魚游上沙灘 54All That Breathes 救雀奇兵 115Aloners 孤獨熱線 99Amira 以巴爸之名 170Anxious Body 不安之體 44Axiom 吹神的法則 116Before, Now & Then 娜娜的逝水年華 18Bergman Island 情尋褒曼小島 185Berlin Feuer 柏林火焰 65Bestia 野獸之思 77Better Days 少年的你 68Bird in the Peninsula 半島之鳥 171Bite of Bone, A 骨嚙 65Blue Has No Dimensions 接近無限維度的藍 82Boat People 投奔怒海 67Bones, The 屍骨招魂 140Box, The 骨肉無償 118Bruno Reidal: Confession of a Murderer 魔童殺人自白書 152Buñuel: A Surrealist Filmmaker 布紐爾的超現實魅力 119Captain Volkonogov Escaped 贖罪狂奔 55Children of the Mist 霧之雛 45Cloud & the Man, The 迷雲記 153Come with Me to the Cinema The Gregors 似是戲緣人 100Commitment Hasan 朝聖之前懺悔之後 175Convenience Story 怪奇便利店物語 93Conversation on The Report, A 阿巴斯陪你睇《報告》 147Cow 乳牛的黃昏 86Crimes of the Future 後人類罪行 72Dance of a Dream 愛君如夢 176Dark Glasses 無明殺機 56Dark Red Forest 絳紅森林 194Diary for My Children 留給兒女的日記 64Displaced 移動乒場 19Divide, The 撕裂巴黎 154Django & Django 黑煞星大導 72Echoes of the Rainbow 歲月神偷 141Employer and the Employee, The 主僕的距離 87EO 驢子伊艾奧 184Europa 歐羅巴 20Everything Went Fine 爸爸可否不要死 101Evolution 天演遺痕 120Exam, The 出貓大風暴 22Falls, The 瀑布 32Fantasy World 童話．世界 121Feathers 魔法．老公．雞 148Fire of Love 火山之戀 159Fish Tale, The 美波的魚樂無窮 198Forever a Woman 永恆的乳房 170Fourth Wall, The 男孩的魔幻廚房 88France 法蘭西女主播 182From Bakersfield to Mojave 軌跡八景 46Gentle 殘酷的溫柔 200Girls of the Night 只有黑夜的女子 160Goddamned Asura 該死的阿修羅 72Golden Chicken 金雞 67Good Day 詠晴 77Grandmaster, The 一代宗師 122Gravedigger's Wife, The 掘墓者之妻 23Great Freedom 羈不住的自由 142Great Movement, The 迷城煉魂記 123Haruhara san 's Recorder 春原的牧童笛 102House Arrest 大軟禁 173House of Existence 存在之寓 103Huda' s Salon 諜路難逃 149I' m So Sorry 無去來處 170Impossible Figures and other stories I 末日冷酷異境 184In and Out a Window 窗內窗外 79Infernal Affairs 無間道 80Infernal Affairs II 無間道 II 81Infernal Affairs III 無間道 III 終極無間 71Inspector Wears Skirts, The 霸王花 124Intregalde 失驚無神山旮旯 167Inu oh 犬王 168Island, The 魯賓遜漂流記：當代激情篇 155Jane by Charlotte 姬絲寶寫珍集 72Jiang Hu~ " The Triad Zone" 江湖告急 33Journey to the West 宇宙探索編輯部 71Juliet in Love 朱麗葉與梁山伯 156Keep on Walking: The Man and His Higher Course 行影．不離 47Klondike 頓巴斯戰火孕記 192Kummatty 魔法師古默蒂 24Lamb 羊嬰傳說 191Last Supper, The 虔誠地主的最後晚餐 25Leila' s Brothers 藏金風暴 89Leonora Addio 兩個告別皮蘭德婁的角色 104Let It Be Morning 黎明你會不會來 161Licorice Pizza 甘草薄餅 76Little Cheung 細路祥 48Love According to Dalva 錯愛的教育 69Love, Dad 吾愛，吾父 172Love in Times of Coal Based Economy 愛在煤炭燃燒時 71Love is Love 望夫成龍 196Love Letter 戀文 162Love Nonetheless 無限制的愛 201Love Under the Crucifix 阿吟小姐 169Mad God 瘋神 125Magnetic Beats 卡式青春 49Mediterranean Fever 地中海鬱到病 218

68Memoir of a Veering Storm 風暴回憶鹿 84Millennium Mambo 千禧曼波 34Moneyboys 金錢男孩 90Moon and the Tree, The 月亮樹 197Moon Has Risen, The 月昇物語 105Mr Landsbergis 動地驚天革命過 171Mui 梅婆 57 MUTZENBACHER 好色情荼毒室 76My Life as McDull 麥兜故事 150Navalny 毒殺納瓦尼 35New Old Play, A 椒麻堂會 144New Order 赤裸新秩序 181Night of Knowing Nothing, A 一任無知到天明 90Night, The 良夜不能留 26Nitram 惡的序章 163Noise 豬狩島殺人事件 66Nonconformist, A 拒同流者 66North Pole 失身之惑 91Novelist's Film, The 女作家的電影 126Olga 體操少女的落地瞬間 189Oliver! 新苦海孤雛 36One and Four 一個和四個 164One for the Road 一杯上路 76One Nite in Mongkok 旺角黑夜 127Onoda – 10000 Nights in the Jungle 孤軍山林一萬夜 69Orthodontics 緊箍咒 143Other Tom, The 無藥可究 193Outsiders: The Complete Novel, The 小教父（完整導演版） 106Pacifiction 太平洋危險人物 27Paris, 13th District 愛慾巴黎十三區 13Passengers of the Night, The 巴黎夜旅人間 172Perfect City: The Mother 完美之城：媽媽 21Peter von Kant 彼特的苦淚 107Petrov' s Flu 意識流感 50Piece of Sky, A 冬日蒼穹 58Plains, The 車廂人生絮語 128Playground 兒童欺戲樂園 177PleasureAV女優血肉史 129Poet 古來詩人皆寂寞 77Port of Call (Director' s Cut) 踏血尋梅（導演版） 71Portland Street Blues 古惑仔情義篇之洪興十三妹 130Quiet76PTU Girl, The 恬靜之夏 28Red Rocket 赤色大箭男 131Reflection 創傷的倒影 92Report, The 報告 108Restless, The 躁愛 94Rimini 廢老浪蕩兒 37Ripples of Life 永安鎮故事集 190Rites of May, The 五月之祭 165Riverside Mukolitta 河畔小時光 202Sandakan No. 8 望鄉 132Sea Ahead, The 夢斷海邊之城 76Shaolin Soccer 少林足球 188Shoeshine 擦鞋童 68Sideral 升空奇遇記 38Silver Bird and Rainbow Fish 第二個和第三個媽媽 77Simple Life, A 桃姐 173Soft Animals 慾望號月台 185Sower of Stars, The 繁星幽域 39Sparring Partner, The 正義迴廊 66Spiral, The 記憶迴廊 172Steakhouse ��爆夫妻 157Story of Film: A New Generation, The 新世紀電影史話 95Story of My Wife, The 妒海迷航 133Sughra' s Sons 暴雪無聲 145Sundown 日落前的躺平人生 83Suzhou River 蘇州河 173Swallow the Universe 吞噬宇宙 69Sycorax 暴風雨女巫 14Tales from the Occult 失衡凶間 59Tantura 坦圖拉屠殺謊言 60Territory, The 亞馬遜雨林保衛戰 109That Kind of Summer 性治療夏令營 15To My Nineteen Year Old Self 給十九歲的我 12Tori and Lokita 兩小無懼 184Train Again 又見火車 65Trap 被困的青春 110Tsugua Diaries, The 月八拍攝日誌 134Unclenching the Fists 窒愛家鎖 173Under the Skin, the Bark 面譜修理員 183United States of America, The 花旗五十二景 135Unrest 精準的騷動 51Utama 無雨問蒼天 187Vampyr 殭屍 136Vera Dreams of the Sea 夢海深秋 111Vortex 歲月的漩渦 199Wandering Princess, The 流亡王妃 77Warlords, The 投名狀 11Warriors of Future 明日戰記 137What Do We See When We Look at the Sky? 偶然仰望天空，你有什麼想像？ 67What Remains 剩下一隻羊 61Where Are We Headed? 下一站，紅場 10Where the Wind Blows 風再起時 64Will You Look At Me 當我望向你的時候 29Year of the Everlasting Storm, The 暴風之年 117Yuni 紫色女孩的婚事 72Zero to Hero 媽媽的神奇小子 170Zoon 小森肥一族 219

184 THEMERSON,

172

ABU-ASSAD, Hany 103 AGNESKIRCHNER, Alice 153 AHMED, Khadar Ayderus 122 ANDERSON, Paul Thomas 161 ANDINI, Kamila 116-117 APCEVSKA, Marija 66 ARAVINDAN, Govindan 192 ARGENTO, Dario 176 ARNOLD, Andrea 147 AUDIARD, Jacques 27 BAIRÉAD, Colm 130 BAKER, Sean 28 BANERJEE, Abhinandan 45 BARRIE, Dianna 184 BECKERMANN, Ruth 57 BENNING, James 182-183 ADEŽ, Špela 172 CARDONA, Vincent Maël 125 CARPIGNANO, Jonas 114 CASTELLVÍ, Gerard Ortín 68 C.B. Yi 34 CHAN, Fruit 14, 76 CHAN, Peter Ho-sun 77 CHEN, Anthony 29 CHEUNG, Mabel 15 CHIN, Wellson 71 CHIU, Samson 72 CHOW, Stephen 76 CHUNG Mong-Hong 22 CHUPOV, Aleksey 119 COCIÑA, Joaquín 67 COPPOLA, Francis Ford 193 CORSINI, Catherine 19 CÔTÉ, Denis 109 COUSINS, Mark 157 COVARRUBIAS, Hugo 65 CRONENBERG, David 86 CSUJA, László 46 DAGHER, Ely 132 DAMIAN, Anca 168 DARDENNE, Jean-Pierre 12 DARDENNE, Luc 12 DE LEON, Mike 190 DE PINHO, Agata 65 DE SICA, Vittorio 188 DIAB, Mohamed 99 DION, Franck 173 DOSA, Sara 148 DREYER, Carl Theodor 187 DUMONT, Bruno 88 EASTEAL, David 58 EL ZOHAIRY, Omar 121 ENYEDI, Ildikó 95 ER GORBACH, Maryna 47 ESPADA, Javier 152 ESTEVE, María Silvia 66 FAZENDEIRO, Maureen 110 FEDOTOW, Ruslan 61 FRANCO, Michel 144-145 FUNG Chih-chiang 14 GAINSBOURG, Charlotte 155 GEORGOVASSILI, Sofia 68 GERMAN Jr, Aleksey 102 GOMES, Miguel 110 GRAPPE, Elie 126 GUTIÉRREZ ALEA, Tomás 191 HA Le Diem 55 HAGHIGHI, Mani 93 HAJ, Maha 49 HANSEN-LØVE, Mia 18 HARARI, Arthur 127 HERS, Mikhaël 13 HIROKI Ryuichi 163 HO Cheuk-tin 39 HO Ping 156 HOI, Wesley 14 HONG Sang-soo 91 HONG Sung-eun 115 HOU Hsiao-Hsien 84 HUANG Shuli 64 HUI, Ann 77, 82 Jigme Trinley 36 JIN Huaqing 56 JÓHANNSSON, Valdimar 24 JOJO Hideo 162 JÖNSSON, Jöns 46 JOUNG Yumi 173 KALAEE, Mahboobeh 170 KAM Kwok-leung 71 KAPADIA, Payal 181 KAPLANO LU, Semih 100 KARAHODA, Samir 64 KIAROSTAMI, Abbas 92-93 KOBERIDZE, Alexandre 137 KOCH, Michael 50 KOLIRIN, Eran 104 KOMLJEN, Dane 180 KONG Dashan 33 KORKI, Shawkat Amin 120 KOT, Eric 71 KOVALENKO, Kira 134 KRASNIQI, Kaltrina 136 KUMAI Kei 202 KURZEL, Justin 26 LAFOSSE, Joachim 108 LAM, Dante 72 LAMB, Jan 71 LAPID, Nadav 98 LAU, Andrew 72, 79-81 LAW, Alex 72 LE PORT, Vincent 118 LEI Lei 38 LEÓN, Cristóbal 67 LEUNG, Tommy 71 LOAYZA GRISI, Alejandro 51 LOU Yi-An 160 LOU Ye 83 LOWERY, David 29 LOZNITSA, Sergei 105 MAIA, Pedro 185 MAK, Alan 79-81 MAYGHANI, Mohammadreza 69 MEISE, Sebastian 23 MERKULOVA, Natasha 119 MÉSZÁROS, Márta 194 MIKI Satoshi 175 MIZUSHIRI Yoriko 170 MUNDRUCZÓ, Kornél 101 MUNTEAN, Radu 124 NAJAF, Ilgar 133 NEMES, Anna 46 NG Yuen-fai 11 NGUYEN, Diana Cam Van 69 NICOT, Emmanuelle 48 Nieto 173 NOÉ, Gaspar 111 OGIGAMI Naoko 165 OKITA Shuichi 159 OMIRBAEV, Darezhan 129 OZON, François 20-21 PAJEK, Marta 170 PANAHI, Jafar 29 PATIÑO, Lois 69, 185 PETROVI , Dejan 64 PIÑEIRO, Matías 69 PLÁ, Rodrigo 143 POITRAS, Laura 29 POONPIRIYA, Baz 164 PRITZ, Alex 60 QIU Jiongjiong 35 REA, Luca 154 REED, Carol 189 ROHER, Daniel 150 ROUSTAEE, Saeed 25 RUSSO, Kiro 142 SANTULLO, Laura 143 SCHÄUBLIN, Cyril 135 SCHWARZ, Alon 59 SCHWENK, Jonatan 170 SEGUNDO, Carlos 68 SEIDL, Ulrich 94 SEN, Shaunak 54 SEREBRENNIKOV, Kirill 107 SERRA, Albert 106 SIWI SKI, Tomasz SKOLIMOWSKI, Jerzy 87 SOARES, Daniel 67 SOTOMAYOR, Dominga 29 SUGITA Kyoshi TANAKA Kinuyo 196-201 TANG, Freddy 32 TAVIANI, Paolo 89 THEMERSON, Franciszka Stefan 184 THYBERG, Ninja 177 TIPPETT, Phil 169 TO, Johnnie 76 TOWIRA, Pimpaka 66 TSAI

123

Ming-Liang 90 TSANG, Derek Kwok-cheung 77 TSCHERKASSKY, Peter 184 TUOHY, Richard 184 VASYANOVYCH, Valentyn 131 VEBER, Anastasia 65 VIGAS, Lorenzo 140 VITTHAL, Malik 29 WADA Atsushi 68 WAN, Jimmy 72 WANDEL, Laura 128 WEERASETHAKUL, Apichatpong 29 WEI Shujun 37 WONG Kar Wai 77 WONG Weng-chon 171 WU De-Chuen 171 YANO Honami 171 YEE, Derek 76 YIP Wai-man 71 YIP, Wilson 71 YUASA Masaaki 167 YUEN, Toe 76 YUNG, Philip 10, 77 ZAS, Manuel Nieto 141 ZHAN, Renee 173 ZHANG Zhi-Teng 67 ZHAO Liang 149 ZHOU Shengwei 172 導演索引 INDEX OF DIRECTORS 220

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