2
製作人 Producer
4
策展人 Curator
8
活動資訊 ｜ 場次表 Info
10
焦點影人──潘黨迪專題 Filmmaker in Focus: Phan Dang Di
12
社會面面觀──劇情片專題 Social Landscape: Feature Film Program
15
異境重生──劇情片專題 Inside but Beyond Vietnam: Feature Film Program
18
另一種愛情敘事──劇情片專題 Another Love Story:Feature Film Program
21
生活即是戰爭──紀錄片專題 Life Is War: Documentary Film Program
24
邊緣人物──紀錄片專題 Marginal People: Documentary Film Program
27
32
焦點影人──阮純詩專題 Filmmaker in Focus: Nguyen Trinh Thi
36
特別注目──范筱的混種視界專題 Special Regard: Siu Pham’s Hybrid Vision
38
虛構非虛構──實驗錄像專題 Fiction Non Fiction: Experimental Video Program
42
公眾場域──實驗錄像專題 Public Spaces: Experimental Video Program
47
工作人員 & 特別感謝 Staff & Special Thanks
Index
1
「美」夢成真──紀錄片專題 Past Nightmare, Future Dreams Documentary Film Program
製 作 人 語
在 2014，靠近越南
遠 文╱姚立群
在左邊的亞洲影展，從 2006 年以來，立意做為一個另類的「亞 洲影展」，是無庸置疑的。那不僅僅是從「東南亞影展－亞洲影展－ 亞太影展」這已近六十年的冷戰產物，所產生的反彈──因為時至 今日，它的延續已顯得語無倫次，遑論更早於台灣政治上解嚴的時 間點，屬於電影的「那個時代」已然變異。更是因為，在過去這類 光鮮亮麗的國際場合裡，所標榜的亞洲人的友誼與藝術交流，長久
離
以來並無助於彼此「走入亞洲」的行動。 「在左邊的亞洲影展」誕生於數位時代，相信電影／影像具有 一定力量的文化載體，能夠較快地介紹當今全球化風潮的席捲下訊 息萬變的的亞洲新貌。影展積極選擇足以彰顯進步思潮並帶動對話 參與的作品，提供觀眾沿著創作者所代表的文化／跨文化脈絡，認 識亞洲各個社會現實樣貌，以及回顧近現代發展歷史。第一屆影展 邀請菲律賓策展人默文．埃斯皮納（ Mervin Espina），呈現了二十部 來自印尼、新加坡、馬來西亞、泰國、柬埔寨、緬甸、菲律賓等地
・
的實驗／紀錄／劇情作品，非常多樣多元。 2010 年的「韓國專輯」，策展人陳虹穎選擇了南韓十部紀錄片，
帶出新近韓國社會運動的一部分群像，讓台灣觀眾更貼近觀看南韓 社會，並反思現代發展歷程相近的台灣。由於第二屆參與的觀眾非 常踴躍，帶動了台北之外的地區爭相邀映的盛況，促成第二年在台 灣多地巡迴。而這整個維持了近一年的上映過程，猶如一群人共同 如何透過影像搬運希望、激盪想像給另一群人的交換傳遞。 2014 年，策展人張騰元提出以「越南」做為單一的焦點，策畫
「遠離．遠離越南」專輯，除了影片放映之外，並邀請了潘黨迪與 阮純詩這兩位在越南／國際的電影界與視覺藝術界分別具有重要地
遠
位的藝術家，來台與諸多與會嘉賓進行對話交流。特別的是，台灣 國際實驗媒體藝術展（EX!T 5）將貢獻四個單元，聯名舉行。在第 一屆中一塊缺席的東南亞，於焉補足。 Unless, perhaps, one day…a war.
──摘自《廣島之戀》 重逢之日不必是因為一場戰爭──越南於 1986 年進行改革開
離
放之後，成為了世所矚目的市場。多少年來，「亞洲」名號下的人 文思想暨其影響力，在台灣被忽視或輕視，而代表越南的那一部分， 也往往以一種汙名化的存在被表述著。當台灣也明白，亞洲各地在 當代的資本主義交換之中作為最主要貢獻的勞動人力與自然資源， 不能繼續粗暴地消費與剝削下去時，也應該認真地認識越南的文化 及美學脈絡，進行知識與精神上的交流。
2
越 南
Vietnam Now
Yao Lee-Chun
Translation: Hsu Tien-Ying
Since its foundation in 2006, Shooting Left Asia has certainly remained an alternative film festival centering on Asian films. It not only serves as a strike against the Asia Pacific Film Festival, first known as the South East Asian Film Festival and later the Asia Pacific Film Festival, founded during the Cold War in an ideological combat against communist regimes nearly sixty years ago. Today, the APFF falters for it has no reason to sustain, not to mention that the definition of the “golden” days of cinema have changed greatly after the lifting of the martial laws in Taiwan. An even stranger thing is that, on glamorous international occasions as such, the so-called befriending and exchange have never really helped the participating Asian countries to learn more about one another. Born in a digital age, Shooting Left Asia believes that cinema / image as a cultural carrier has certain power to more quickly introduce Asia’s ever-changing looks to the audience as the world becomes more globalized by day. The festival actively seeks works that manifest cutting-edge trends and encourage exchange of thoughts, so that viewers may more easily learn the present-day Asian societies and the cultural / cross-cultural contexts which the filmmakers represent, while looking into the contemporary histories of those countries. The first year, Pilipino curator Mervin Espina was invited to present more than 20 experimental / documentary / feature films from Indonesia, Singapore, Malaysia, Thailand, Cambodia, Myanmar, the Philippines and so on. The resultant festival was highly diverse. For “Korea Now” in 2010, curator Chen Hung-Ying chose to illustrate parts of the vast social movements in South Korea though the county’s documentaries. The festival in that year allowed the Taiwan audience to more closely observe the South Korean society and reflect on the circumstances in Taiwan, as the two states share rather similar courses of development in modern times. Seeing that the festival was well received by viewers in Taipei, organizations outside the capital were eager to invite us to screen the films. Hence Shooting Left Asia already started touring in Taiwan in its second year. The tour, which in the end lasted for almost a year, delivered hope and evoked imagination through image, from one group of people to another. In 2014, curator Chang Teng-Yuan proposed that Vietnam be the single focus of the year, and came up the “Far from Vietnam” theme. Other than film screenings, artists Phan Dang Di and Nguyen Trinh Thi, respectively enjoying a high status for their films and visual artworks in the international community, will be exchanging ideas with various other honorable guests during their visit in Taiwan. And this year the special 5th Experimental Media Art Festival in Taiwan screening will be part of the SLA. Now the missing part (country) of the first year’s fest is finally to be filled. “Unless, perhaps, one day…a war.” --Excerpted from Hiroshima Mon Amour A second chance is now given to learn more of Vietnam, and luckily this time it’s not because the country is stranded in war. Vietnam has in fact been a much discussed market since its reform in 1986. Yet for many years the cultures and powers of Asian countries have been purposefully neglected or looked down upon in Taiwan, especially those of Vietnam which are often presented as the stigmatized. If people in Taiwan know that laborers and natural resources that come from its neighboring countries are the two most important contributors to a successful capitalist economy, and see that those cannot be bullied or exploited anymore, they must then try to take Vietnam’s culture and aesthetics much more seriously, and perform exchanges at intellectual and even spiritual levels with friends from this
3
Producer
country.
策 展 人
策展人語
遠 文／張騰元
在克里斯馬克的號召下，高達、雷奈等七位法國新浪潮的年 輕導演，於 1967 年集體完成了這部影史經典《遠離越南》（Loin du Vietnam），融合跨類型手法，串接風格殊異的短篇，反覆議論越南
和反戰主題，陳辯人性的危脆和對立。片名透露著幾種意涵：遠離 對越南國土的侵害，回到對歐美的反身思考，或反映出戰爭的創傷 無法遠離……片尾直陳：「戰爭就在我們周圍，越南是為了我們而 戰！」可時至今日，當我們重新解讀這段話或整部影片，不禁疑問， 越南是否終究只能作為影像論述的邊緣客體？真實的越南何在？而
屬於越南的電影新浪潮又在哪呢？
越南，自 1975 年南北越統一後，成為全面實行社會主義的共 產專政國家，地理上是位於中南半島東側臨海的狹長型陸地，在熱 帶季風吹拂與歷史變遷中，大略以北（河內）、中（順化）、南（西貢） 三個主要城市地帶，兼融五十四個民族，形成它同中存異的人文景 觀。既往而言，越南長期受到外部政權及文化影響，在西元前一世
離 ・
紀至十世紀間，實際由北方中國所統轄，十五世紀初，因國內動盪 再度由中國明朝統治，待重新獨立後，仍維持著藩屬關係。十九世 紀中，法國殖民越南，演變為法屬印度支那的一部份；二戰時又曾 被日本短暫入侵；1945 到 1975 年間則陷入激烈的抗法、抗美（越戰） 戰爭時期。直到 1975 年胡志明率共產勢力佔領南越，才走向今日 南北統一的局面。 隨著戰事遠離，越南電影中的戰爭元素逐漸化為背景，開始 關注生活現實與個體命運；到了改革開放（1986-）以後，其電影環 境卻遭受到幾波來自海外的衝擊，首先是好萊塢電影及電視流行 文化大舉進入，再者是越裔導演的作品，如鄭明河的《姓越名南》
遠
（1993）、裴東尼的《戀戀三季》 （1989）、陳英雄的《青木瓜的滋味》 （1999）等，紛紛在 90 年代的國際影壇代表越南發聲，這些現象促 使越南對其電影產業重新檢討。近年則產生不少具代表性的本土導 演及作品，如劉皇的《穿白絲綢的女人》（2007）、裴碩專的《慾如 潮水》（2009）及潘黨迪的《紅蘋果的慾望》（2010）等，他們大多 擅於描寫社會環境或人性本質，散發一定的藝術氣息，而在國際電 影競賽嶄露頭角。
離 越
4
南
因此，從另個面向來看，在國際印象中，越南電影也正脫離過去 《遠離越南》、《越戰獵鹿人》、《現代啟示錄》等為詮釋或省思越戰， 而讓越南真實面貌被遮蔽或陷入刻板的西方眼光，在世界電影潮流 裡，它已逐漸超克歷史的命題，遠離《遠離越南》的西方反戰意識框 架，爭取到自己的影像主體話語權。如今，存在著更多根基於越南當 代社會議題，俱本土特色、原創性，且屬年輕世代的影像創作，尚待 我們來發掘、關注及討論。 尤其，臺灣曾在 1970 年代末，接收少數越南難民；經濟層面上， 臺灣目前為越南第四大外資國及第五大貿易夥伴。自 1994 年實行「南 向政策」以後，現存近九萬越南婚姻移民居住在臺灣（佔東南亞新移 民半數以上）。這時，值得臺灣深思，假如我們也需要遠離越南，或 許應當遠離的是 1990 年代以來在新自由主義下，對越南等東南亞國家 那種全然經濟利益導向，甚至潛意識帶有次殖民意味的想像。並藉由 當代越南影像作為媒介，重新建立起更對等認知彼此的眼光。 故 這 次 與 牯 嶺 街 小 劇 場 合 作， 策 劃「2014 在 左 邊 的 亞 洲 影 展 +EX!T5 第五屆台灣國際實驗媒體藝術展－遠離．遠離越南 Près du Vietnam」及系列講座，聯合此二影展的脈絡，以雙重遠離之名，行
靠近越南之實。盼為大眾引介越南電影發展現況和其鏡頭下的獨特觀 點，為進一步觸探東南亞區域，開啟另一跨文化視角。
Curator
5
策 展 人
遠 From the Curator
Chang Teng-Yuan Translation: Journey Chan
Initiated by Chris Marker, seven young directors influenced by La Nouvelle Vague, including Jean-Luc Godard and Alain Resnais, contributed to the classic Loin du Vietnam in 1967 using segments that are diverse in genre and styles, all discussing and debating issues regarding Vietnam, anti-
離
war, and the fragility as well as confrontations of humanity. The title of the film suggests several meanings: moving away from harms done to Vietnam, focus on reflections on the United States and European countries, or mirror how it is impossible to move away from harms caused by war… It was stated directly at the end of the film, “War is all around us, Vietnam is fighting for us!” But, when we reinterpret this line or the entire film today, we cannot help but ask ourselves, is Vietnam ultimately just the marginalised object of film discourse? Where is the real Vietnam? Where is the nouvelle vague of Vietnam films?
・
Since the reunification of North and South Vietnam in 1975, Vietnam has become a socialist nation ruled by the communist party. Geographically, Vietnam is that long stretch of land bordering the sea along the eastern Indochina Peninsula; faced with tropical monsoons and historical changes, it is roughly divided into the three metropolises of northern (Hanoi), central (Hue) and southern (Saigon), encompassing fifty-four ethnicities and thus forming its similar yet different human landscapes. Historically, Vietnam has long been influenced by foreign regimes and cultures. From 1st century B.C. to 10th century A.D., Vietnam was ruled by China, its northern neighbour; during the early 15th century, Ming Dynasty again ruled over due to its domestic turmoil, and Vietnam remained a vassal state to the Ming Dynasty even after regaining
遠
independence. During mid-19th century, Vietnam fell under the French colonization and became part of the French Indochina; it was briefly invaded by Japan during WWII, and fierce Indochina War against France and Vietnam War against the United States struck respectively from 1945 to 1975. In 1975, the Ho Chi Minh-led Viet Cong force occupied South Vietnam, and the two halves reunified as the Vietnam we know today. With the war long past, war elements within Vietnam films moved into the backdrop, and everyday reality as well as destiny of the individual moved
離
into focus; entering the post-reform and opening up period (1986-), the film industry faced impacts from overseas, first up was the widespread introduction of Hollywood films and popularisation of the TV culture, followed by works of Vietnam-descendant directors including Surname Viet Given Name Nam
6
越 南
by Trinh T. Minh-ha (1989), The Scent of Green Papaya by Anh Hung Tran (1993), and Three Seasons by Tony Bui (1999), all speaking on behalf of Vietnam on the international stage in the 1990s; such phenomena prompted Vietnam to rethink its film industry. Many iconic local directors and works have been produced in recent years, such as The White Silk Dress by Luu Huynh (2007), Adrift by Bui Thac Chuyen (2009) and Bi, Don't be afraid by Phan Dang Di (2010), all excelling at describing the social environment or the nature of humanity, artistically flavoured and rising in international film festivals. Hence, seen internationally, Vietnam film is breaking away from the old interpretations of and reflections on the Vietnam war in Loin du Vietnam, The Deer Hunter, and Apocalypse Now, bringing out the reality in Vietnam that was hidden or stereotyped by Western perspective, gradually transcending from that worldwide trend of historical themes in films, moving away from the Western anti-war context in Loin du Vietnam, and gaining their own voice and subjectivity in films. Nowadays, there are more and more films created by the younger generation that are original with local flavours, and based on social issues in the contemporary Vietnam that await our discovery, attention and discussion. To take it further, Taiwan took in a small number of Vietnamese refugees in the late 1970s. Economically, Taiwan is the fourth largest foreign investor and fifth largest trading partner of Vietnam. Since the implementation of the Go-South Policy in 1994, we currently have close to 900,000 Vietnamese marital immigrants living in Taiwan (over 50% of total Southeast Asian immigrants). This is something we should think about in Taiwan, if we also need to distance ourselves from Vietnam, perhaps what we should really distance ourselves from is the economically driven interest and even the sub-colonial imagination we subconsciously hold towards the Southeast Asian nations such as Vietnam, brought about by the neo-liberalism since 1990s. Using Vietnam film as media, mutual understanding based on a more equal ground can again be established. Therefore, I am working with Guling Street Avant-garde Theatre to plan Shooting Left Asia '14 & 5th Experimental Media Art Festival in Taiwan (EX!T 5) - Près du Vietnam and subsequent seminars, and extending the context of Shooting Left Asia to approach Vietnam from afar. I hope to introduce to the public in Taiwan the current status of film developments in Vietnam, and try to open up another crosscultural aspect to further explore the Southeast Asian region.
Curator
7
活 動 資 訊 ｜ 場 次 表
【開幕茶會】Opening
遠
餐桌上的家鄉—她的南國料理與故事 Tea Party - The Taste of Home: Her Southern Cuisine and Stories 12/24 (Wed) 20:10 ＠ 牯嶺街小劇場藝文空間 GLT 2F Gallery
【特別放映＆座談】Special Screening & Talk 《姊妹，賣冬瓜》× 越南實驗記錄片交流放映會 與談人：阮純詩導演、洪滿枝（南洋台灣姊妹會前副理事長） Let's Not Be Afraid!: A Conversation on Vietnamese Experimental-Docs Now In Conversation: Director Nguyen Trinh Thi and Hong Man Chi, Ex-Vice Chairperson of TASAT 12/23 (Tue) 19:00-21:00 ＠ 南洋台灣姊妹會北部辦公室 TASAT
離 ・
【焦點影人講座】Filmmaker in Focus Forum A. 潘黨迪導演 Director Phan Dang Di
越南社會景象及電影新浪潮的探尋 主持人：洪健倫〈《放映週報》主編〉 Views in Vietnamese Society; Explorer in Film’s New Wave Host: Allen Hong, Chief Editor of Funscreen 12/26 (Fri) 20:00-21:30 ＠ 牯嶺街小劇場藝文空間 GLT 2F Gallery
B. 阮純詩導演 Director Nguyen Trinh Thi
穿越地理與影像邊界：越南實驗電影樣態 主持人：區秀詒（電影／影像藝術家）
遠
Across Geography and Image Border: Forms of Vietnam Experimental Films Host: Au Sow Yee , Filmmaker and visual artist 12/27 (Sat) 19:10-20:40 ＠ 牯嶺街小劇場藝文空間 GLT 2F Gallery
【閉幕論壇】Closing Forum
離
亞洲複現：台灣—越南／東南亞電影交流展望 與談人：潘黨迪導演、阮純詩導演、許家維（藝術家／打開─當代藝術工作站前 站長）、徐明瀚（《Fa 電影欣賞》執行主編） 主持人：張騰元（策展人） Re-replicated Asia: Film Exchange between Taiwan and Vietnam (and Southeast Asia) Panelists：Director Phan Dang Di; Director Nguyen Trinh Thi; Hsu Chia Wei, Artist and Ex-Director of OpenContemporary Art Center (OCAC); Austin Ming-Han Hsu, Executive Editor of Fa Host: Chang Teng Yuan, Curator
越
12/28 (Sun) 15:30-17:30 ＠ 牯嶺街小劇場藝文空間 GLT 2F Gallery
8
南
12. 特別放映＆座談
23
南洋台灣姊妹會
Special Screening & Talk ＠ TASAT 19:00
Tue
24 Wed
25 Thu
SLA
SLA EX!T
SLA
社會面面觀 劇情片專題
開幕茶會 餐桌上的家鄉
生活即是戰爭 紀錄片專題
Social Landscape: Feature Film Program 100 min 18:30
Opening Tea Party: Life Is War: The Taste of Home Documentary 20:10 Film Program 105 min 20:30
EX!T
EX!T
特別注目 范筱的混種視界專題
虛構非虛構 實驗錄像專題
Special Regard: Siu Pham’s Hybrid Vision 120min 18:00
Fiction Non Fiction: Experimental Video Program 71min 20:40
影人出席映後座談 Post-screening Talk
26
Sat
Sun
9
焦點影人講座 A
Filmmaker in Focus Forum A 20:00
SLA
SLA
EX!T
EX!T
異境重生 劇情片專題
邊緣人物 紀錄片專題
焦點影人 阮純詩專題
焦點影人講座 B
Inside but Beyond Vietnam: Feature Film Program 88 min 13:00
Marginal People: Documentary Film Program 120 min 14:50
Filmmaker in Focus: Nguyen Trinh Thi 55 min 18:00
SLA
SLA
「美」夢成真 紀錄片專題 Past Nightmare, Future Dreams: Documentary Film Program 128 min 13:00
EX!T
閉幕論壇 Closing Forum 15: 30
Filmmaker in Focus Forum B 19:10
EX!T
SLA
公眾場域 實驗錄像專題
另一種愛情敘事 劇情片專題
Public Living: Experimental Video Program 77 min 18:00
Another Love Story: Feature Film Program 85 min 19:30
Info
28
SLA
焦點影人 - 潘黨迪專題 Filmmaker in Focus : Phan Dang Di 111min 18:00
Fri
27
SLA
在 焦 點 影 人
焦點影人 ──潘黨迪專題
Filmmaker in Focus: Phan Dang Di 潘黨迪（Phan Dang Di），當今越南最具才氣 亦最受國際矚目的獨立電影導演，其擔任製片／ 編劇／導演的《紅蘋果的慾望》（Bi, Don't Be Afraid, 2010）曾一舉囊括坎城影展國際影評人週兩項大
的殊榮，及許多國際影展獎項的肯定。藉他本次 訪台交流之際，我們除了將重溫《紅》片神采， 更同場加映他曾入圍威尼斯電影獎競賽的短片 《當我 20 歲》（When I Am 20, 2006） The most talented and internationally renowned independent film director in Vietnam, Phan Dang Di bagged two major prizes in the Critics Week from the Cannes International Film Festival with Bi, Don’t Be Afraid (2010) as the producer, scriptwriter and director, among many other international film festival awards. In reception of his latest visit to Taiwan, Bi Don’t Be Afraid will be screened once again. When I Am 20 (2006), a short film with which he was selected for the Venice Film Festival, will also be presented.
｜ 左 ｜ 邊 ｜ 的 ｜ 亞 ｜ 洲 ｜ 系 ｜
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當我 20 歲 When I Am 20（Khi tôi 20） 潘黨迪 Phan Dang Di 劇情∣ 2006 ∣ color ∣ 20min 2008 威尼斯影展短片競賽
女 子 甘 願 成 為 妓 女， 提 供 性 服 務 賺錢來貼補家用，她的男友不僅知情， 也接受其選擇。本片以越南為背景，細 膩描繪這對二十多歲年輕情侶的相處時 光和關係變化，更是首部入圍威尼斯電 影節競賽的越南電影！ 可一窺導演潘黨 迪初期如何在當時相對保守的社會環境 下，膽大心細地嘗試特殊題材，及有別 於國內主流的創作表現形式，進而造就 他日後個人風格，與對獨立電影路線的
紅蘋果的慾望 Bi, Don't Be Afraid（Bi, Đừng Sợ） 潘黨迪 Phan Dang Di 劇情∣ 2010 ∣ color ∣ 91min 2010 坎城影展國際影評人週 / 2010 第七屆香港亞洲電影節
最佳新導演獎
堅持。 A young woman prostitutes herself to earn her living and her boyfriend accepts it: this tale of a twenty-something, within the context of Vietnam, is an exceptionally bold and daring story in terms of character building, artistic vision and expression. Fully committed in his way of thinking, and not only in this short film
《紅蘋果的慾望》敘述在炎熱悶濕的越南城鎮舊宅 第裡，住著三代同堂的平凡家庭；家中成員包括整天在 河畔旁製冰廠玩耍的六歲少年小畢，年邁三十卻還小姑 獨處的阿姨，經常出外飲酒與女按摩師廝混的父親，與 日理家務還求歡不成的母親，這一切在長年在國外，重 病纏身的爺爺回來之後起了變化……
project, young director Phan Dang Di has been
In an old house in Hanoi, Bi, a 6-year-old child lives with his
constantly facing unsettling challenges. His
parents, his aunt and their cook. His favorite playgrounds are an
uncompromising approach however raised his
ice factory and the wild grass along the river. After being absent
works above conventional mainstream standard
for years, his grandfather, seriously ill, reappears and settles at their
and helps forming his individual voice.
house. While Bi gets closer to his grandfather, his father tries to goes and see his masseuse, for whom he feels a quiet strong desire. Bi's mother turns a blind eye on it. The aunt, still single, meets a 16-year-old young boy in the bus. Her attraction to him moves her deeply.
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Director
avoid any contact with his family. Every night, he gets drunk and
在 社 會 面 面 觀
社會面面觀 ──劇情片專題
Social Landscape: Feature Film Program 越南電影於題材開發及反映社會現實的能力已日趨豐 厚，本專題涉及到兒童視角的貧民世界；街頭攤販的微妙互 動；歸鄉移民的憂傷記憶；陰暗角落的血腥暴力等，集合多 部帶有成熟影像語言和適切敘事節奏的劇情短片，可謂當代 越南社會的一次縮影！ Vietnamese cinema is becoming more mature in its selection of themes and the perspectives it takes to reflect society. This program showcases a ghetto community from a child’s view, the subtle relationships among street vendors, sorrowful memories of immigrants who return home, and blood and violence in dark corners. A collection of short feature films characterized by a mature cinematic language and fitting, rhythmic narratives make a caricature of contemporary Vietnam.
｜ 左 ｜ 邊 ｜ 的 ｜ 亞 ｜ 洲 ｜ 系 ｜
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破車輪 The Rip（Lỗ thủng） 黎平江 Le Binh Giang 劇情∣ 2011 ∣ color ∣ 12min 2012 越南國際電影節
年輕男子牽著摩托車來到路邊的機 車修理站，這個修理站是一位退伍老兵 所擁有的。在更換被鐵釘戳破的輪胎時， 他們日常如紀錄片式的對話就此展開， 卻巧妙地穿引出許多越南社會現況。導 演運用純熟的剪輯技巧和高明的編劇手 法，將結局帶向屬於道德層面的省思。 A young man takes his Cub motorbike to a street side reparation workshop owned by an old man in military uniform to mend its inner tire. The tire is so badly thrust by a nail it cannot be mended but be replaced by a new one. The story then unfolds like a documentary with heartfelt and ordinarily “human” exchange and sharing. It
街頭冤家 The Bookseller And The Shoe Seller （Bán Sách và Bán Giày） 阮智遠 Nguyen Tri Vien 劇情∣ 2012 ∣ color ∣ 21min
在胡志明市的大街上，一位書販和一位鞋販共同在 人行道上擺地攤。狹窄空間加上書販主動挑釁，引發兩 人接連不斷的紛爭，使衝突持續升溫！本片擅於利用小 場景、少量角色和帶點詼諧的表演方式，使我們聚焦在 平凡人物間的互動，及人際關係微妙的改變。而兩位演 出經驗豐富的越南演員也是使本片成功的重要因素。 On one little street of Saigon, a bookseller and a shoe-seller share a piece of pavement of barely ten–thirty square meters to sell their goods. The small space leads to various bumps and crashes, mostly begin with some petty irritation from the book seller’s side. The participation of two veteran actors Thanh Loc and Le Binh with exquisite acting skills is one of many elements that helps the film deliver the message successfully.
is as real and human as its ending, which leaves viewers with surprise and unpleasantness about deceptions that have become almost as normal in today society.
Feature
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在 ｜
社 會 面 面 觀
左 ｜ KFC2 黎平江 Le Binh Giang 劇情∣ 2014 ∣ color ∣ 29min
男孩小胖，非常愛吃家裡的肉，但不曉得父親藏 在冰箱的竟是人肉，而他的父親則是一個嗜好姦屍的
船民記憶 The Fading Light （Theo hướng đèn mà đi）
外科醫生。有天，小胖結織了以偷東西維生、母親為
善杜 Thien Do
妓女的兩兄妹，這兩兄妹卻打算去小胖家偷東西。意
劇情∣ 2008 ∣ color ∣ 23min
外地，哥哥目睹自己母親也淪為小胖父親手下受害者 的慘況，連串離奇悲劇，一發不可收拾。本片是導演
1970 到 80 年代間的混亂時局，造
黎平江《KFC》三部曲的第二部，未來預計重新剪輯
成眾多越南難民乘船偷渡海外。以此
為長片，但獨立觀看，依然張力不減。頗有韓國暴力
作為遙遠的故事背景，男主角幼時跟
電影之風，及成為越南類型導演的潛力！
家人逃至美國，許多年後他回到越南，
An obese boy called Fatty loved to eat the meat his father
尋訪記憶底的家鄉；不斷出現的海水
had in his fridge, not knowing that he was eating human parts
意象，讓難以抹滅的情感和鄉愁更加
kept by his father, a necrophilia surgeon who took pleasure
瀰漫開來。昔日的船民潮對越南人來
in having sex with the bodies of his dead patients. The boy
說，是一個敏感話題，但也是永難忘
befriended another boy and his sister who pick-pocketed for
懷的一段歷史，深深烙印於個人的生
a living. The brothers’ mother was a prostitute. One day, they
命之中。
planned on stealing from Fatty’s house. The elder happened to
Like many Vietnamese refugees who fled
witness his mother being intimate with Fatty’s father, who then
overseas by boat due to political turbulence in
murdered her and continued to make love with her corpse…
the 1970s and 1980s, the protagonist and his family moved to the United States in pursuit of a new life when he was a small child. Many years later, he returned to Vietnam to see his hometown, which has remained a dear part of his memories. Scenes of tapping ocean waves suggest his everlasting longing for home. While many Vietnamese people are reluctant to recall this part of the history, to the protagonist this is even more than an unforgettable experience. It has effectively left as strong spiritual imprint on him.
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邊 ｜ 的 ｜ 亞 ｜ 洲 ｜ 系 ｜
潘朵拉寶盒 Pandora’s Box（Chiếc Hộp Pandora） 鄧越德 Dang Viet Duc 劇情∣ 2012 ∣ color ∣ 20min
小孩們的冒險地點是一個老舊火車站，他
of crocodiles, their territory is an old railway station. The
們沒意識到正要進入一個並不純然美好的現實
little children don’t know that they are going to enter a
世界，在這趟探索旅途中，惟有與生俱來的仁
world which is not simply a game but in this adventure
慈之心，才是他們最珍貴的隨身行李。片名引
their only luggage is their kindness. According to Greek Mythology, when the gods opened the Pandora box, lots of seeds of epidemic diseases, wars, envy, hatred… flew
一絲安慰。而本片作為數量日增的兒童電影之
out and mankind has had to live with these bad things
一，人物設定和背景環境，亦悄悄顯露不少社
ever since. The Pandora box, in contrary to its name, is
會訊息。
as bright as a modern fable, nurtures good things in the
In children’s eyes, the world is full of colors and adventures. They are Penguin and Eagle, covered by a float
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society which still has lots of question marks.
Feature
用自希臘神話「潘朵拉寶盒」，當所有陰暗和醜 陋遍佈人間，跟隨童蒙視角前進，或許能拾獲
異 境 重 生
異境重生 ──劇情片專題
Inside but Beyond Vietnam: Feature Film Program 本專題之作品透露強烈的藝術性格，雖均出自越
遠 離
南新銳創作者的手筆，亦完全於越南當地取景攝製， 其陌生化、異質化的視覺空間表現，卻逐漸超越本土 視 野， 頗 有 向 法 國 的 高 達（Jean-Luc Godard）、 克 里 斯 馬 克（Christ Marker） 和 泰 國 的 阿 比 查 邦（Apichatpong Weerasethakul）等世界級電影大師繼承及再開拓的意味，
潛力無限，值得觀者們鑑賞關注。 All of the works of this program contain strong artistic
・
sentiments. Created by emerging Vietnamese filmmakers and entirely shot on local locations, their visuality and sense of space, so foreign and heterogeneous, gradually transcend regional perspective. They are not only inherited elements of films by international auteurs such as Jean-Lu Godard and Christ Marker from France and Apichatpong Weerasethakul from Thailand, but also each take a venture into new territories that demand viewers’ attention.
遠 離 越
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南
漂流心滋味 Mui（Mùi） 沈默吶喊 A Silent Shout（Tôi muốn rao lên）
黎寶 Le Bao 劇情∣ 2014 ∣ color ∣ 23min
一個外表黝黑、衣著簡陋的年輕少 女懷孕了，但無從得知小孩的父親是誰。
杜文皇 Do Van Hoang
她撐著小船，來到污濁水岸邊、破舊的
劇情∣ 2014 ∣ B/W ∣ 21min
窮人社區，尋訪一間可讓她待產的神祕 建立於物質慾望而相結合的一對戀人，隱藏著難以
診所。在那裡，她與一位有同樣遭遇的
名狀的關係角力。影片起始於一個遭闖入偷竊的房間，
女子成為朋友。某天，這個女子不告而
在男女主角逾發不和諧和挑釁式的互動中，預示了他們
別，主角卻發現她住在一個潛艇般的密
破碎的未來。以斷裂跳躍的敘事、黑白朦朧的影像，搭
閉空間裡。她們再次相遇，感受彼此的
配詩句式的字卡，導演杜文皇自稱受
心靈。開放式曖昧結局，精湛的攝影，
發於法國導演高
達（Jean-Luc Godard）的《斷了氣》，和土耳其作家奧罕．
都令人再三回味。
帕慕克（Ferit Orhan Pamik）的名著《我的名字叫紅》。
The young woman got pregnant but we never know who is the father. She found a torn
being adrift. Two people are in love with each other through the
place above the dark water to stay and wait for
tangible objects. The film opens with a break-in and several stolen
the due day. In that strange clinic, she made
objects. A sense of losing traces, filled with shadows of violence and
friend with another woman, who share the same
unexpectedness is provoked, foreseeing a disintegrated future. In
fate with her. After giving her kid away, the other
the anxious space remained an old cloth—a hidden, humble and
woman left. Our protagonist searched for her
sensitive trace. The story tells the journey of the old cloth with the
friend and found that woman in a submarine-like
Man—the Woman and the Anonym, challenging their sensitive
shelter. They found warm feelings again, holding
and hard-to-identify existences.
each other. However, the story did not end like that.
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Feature
The movie is about traces, disintegration, and the feeling of
在 ｜
異 境 重 生
左 ｜ 邊
情牽末日 The Last Day On Earth
｜
（Ngày cuối cùng ở mặt đất） 朱陳明德 Chu Tran Minh Duc
的
劇情∣ 2011 ∣ B/W ∣ 16min
片中的胡志明市化作一個使人陌生 且帶有末日氛圍的背景，在低限技術與 情節下，營造出人們逃離地球前夕的詭 異情境，像是一部極短篇科幻片，亦神 似克里斯馬克（Chris Maker）的《堤》； 寂靜、高反差的黑白影像，與畫外的呢 喃低語，引領觀者屏息至最後一刻。 A surreal story about the ending and the runaway, remotely resembles Chris Maker’s La Jetée, is set in Saigon. The moving images, the silences, the whispers. With a fine cinematic sensibility, Chu Tran Minh Duc has made a film that makes you stay silent in front of the screen when the last scene finishes.
有人要進去叢林了 Someone Is Going To Forest （Ai đó đang đi vào rừng） 張明貴 Truong Minh Quy 劇情∣ 2013 ∣ color ∣ 30min 第十八屆釜山國際影展短片競賽 / 2014 第四屆台灣國際錄 像藝術展
傳說有個在森林裡被殺的女人，死後徘徊不去， 甚至會勾引過路客。某天，一個年輕男子在森林中發 現眼前有位女子，隨即感到無法自拔的慾望，沒想到， 慾望卻瞬間演變成暴力。本片靈感取自真實的森林兇 殺案，交疊了幻覺與現實、過去和現在，讓反覆重演 的暴力事件以如夢的形式顯現。 There is a place said to be where a woman killed in the forest still wanders and seduces people. A young man finding a woman walking in the forest feels uncontrollable desire. That desire soon turns into violence. Overlapping illusion and reality, past and present, the repeating history of violence unfolds in a dreamlike manner.
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｜ 亞 ｜ 洲 ｜ 系 ｜
另一種愛情敘事 ──劇情片專題
Another Love Story: Feature Film Program 兩人世界，可能構築於一段黑色懸疑、跨越時空的尋愛之旅， 或深深庭院中一對夫妻的詭譎關係，又或是在現代公寓電梯裡迸發 的情慾異想……古老的愛情命題，在多元新穎的越南短片中各自精 彩表述。 A lovers’ world may be constructed upon a romance-seeking journey across different times and places that’s somehow shrouded in mystery. It can also be based on a strange relationship between a husband and a wife living in a quiet house. It can even be composed of lust and fantasies set in a modern apartment elevator. Love, this ever-lasting motif, is extraordinarily expressed in this diverse selection of short films.
Feature
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在 ｜
另 一 種 愛 情 敘 事
左 ｜ 邊
愛的受難日 Birthday（Ngày Sinh Nhật）
｜
段俊德 Doan Tuan Duc 劇情∣ 2013 ∣ B/W ∣ 17min
的
畢和娜住在一個沒太多裝飾，但還算漂亮的房 子。在畢生日那天，娜送他一份禮物：一捲錄音帶， 裡頭錄著他們十六歲時的對話。如今，他都是成年人 了，娜希望能永遠陪在畢的身邊。但也許是娜的過度 關心，反而使畢的生日充斥著詭異肅穆的氣氛。 Bi and Na live together in a sparsely decorated yet beautiful house. On Bi’s birthday, Na gives him a present—a recorded tape of their conversations when he was sixteen. Bi is now an adult, Na is a sweet gentle woman one wishes to have by his side. There is however the lingering feeling of unease in Na’s overbearing careness to Bi, in the strangely solemn air surrounding the two and in the special birthday present.
電梯春光 Close, Open（Đóng vào, mở ra） 杜國忠 Do Quoc Trung 劇情∣ 2014 ∣ color ∣ 23min 2014 德國 REC 國際電影節
擔任電梯管理員的年輕男子，為 日復一日、單調乏味的工作，感到無 聊得快要發慌。他長期困在這個令人 窒息、四面鐵壁，且進出複雜的電梯 中；直到有天，一位舉止奇特的女子 出現在他的電梯裡，才激起一段化學 反應……本片幾無對白，僅靠影像和 場面調度，建立起明確的敘事意圖。 The story is about a young man who works as an elevator’s keeper. His life and work just repeat day-by-day and he’s stuck in this stifling elevator with walls and tangs. Then one day, a strange girl comes out…
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｜ 亞 ｜ 洲 ｜ 系 ｜
深閨情迷 The Cat And The Orange Seeds（Hạt cam và Con mèo vàng không tuổi） 阮黎皇越 Nguyen Le Hoang Viet 劇情∣ 2014 ∣ color ∣ 21min
一場意外，丈夫癱瘓了。美麗少婦對丈夫不離不 棄，每天都無微不至地照顧著他。他們住在簡潔明亮、 卻幾乎無人聞問的院落裡，任何一點細微的聲響或騷 動，彷彿都能勾動少婦寂寥的心緒；她的出口，只能存 在於浪漫的回憶與幻想。唯美的畫面，更為此情此景增 添悲傷。 After an accident, the husband becomes paralyzed. Yet the wife stays in the marriage to take care of him daily. The film is full of beautiful shots which sadden the couple’s distress even more as it evokes a lovely past that was not so further away but will forever stay as memory. Sadness initiates beautiful dream that soon turns to wishful thinking and breaks into despair. The story of The Cat and the Orange Seeds is not a new one yet the way it is done, it is a tragedy beautifully told with pure cinematic beauty and capable of truly touching tour heart.
重返定律 Everything Returns（Tất cả mọi thứ đều quay trở lại） 黎林圓 Le Lam Vien 劇情∣ 2010 ∣ color ∣ 10min
男孩住在公寓裡頭，他偶然發現， 所有不經意掉到樓下的物品，都會再回
死了都要愛 One Day（Một Ngày） 阮武明 Nguyen Vu Minh Duc 劇情∣ 2012 ∣ color ∣ 16min
一個經常戴著橡膠面具、掩飾真正臉孔的神秘男
到房間裡頭。在這個有趣的情節設定中， 導演要讓觀眾猜想，究竟是不是所有事 物都能重返身邊？ The film sets an interesting premise, where everything returns. However in the end, the director makes viewers wonder, whether everything really returns?
子。他遊走於城市角落，與難以辨識全貌的人們相見， 好像即將要去執行一件重要的事情。在黑色愛情電影般 的佈局裡，丟出一個出乎意料的結尾！ The film follows a mysterious man whose real face is always hidden underneath a rubber mask on one strange day. His journey passes through corners, meets blurry faced people, as if to avoid and is about to do something very serious. The cinematic piece the character’s secretive behavior and leaves them stunned at the surprising ending. One Day also displays a great amount of intricacy and sophistication of the filmmaker in terms of angle shots, image composition and editing.
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Feature
of work by Nguyen Vu Minh Duc keeps viewers wonder about
在 生 活 即 是 戰 爭
生活即是戰爭 ──紀錄片專題
Life Is War: Documentary Film Program 戰爭，不僅具現為無情的砲火殺戮，更直顯於日常生活本質， 那是人們為維續生存或個體價值時，所產生的各種碰撞與衝突。本專 題透過鏡頭的微觀審視，使越南 1980 年代末革新開放（Đổi mới）到 二十一世紀步入現代化轉型過程中，關於社會階層、中產家庭教育、 居住權利、跨性別等諸類議題都隱然若揭。 War is not only manifested through relentless killing, but also though everyday life. It concludes the clashes and conflicts among people as they strive to survive or sustain certain values. Showing detailed observations made via the camera lens, this program suggests a range of topics like class, family education of the bourgeois, the right of abode, and transgenderness, spanning from the post-economic reform (“Đổi mới”) times in the 1980s to the 21st century.
｜ 左 ｜ 邊 ｜ 的 ｜ 亞 ｜ 洲 ｜ 系 ｜
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宜市不宜家 Land（Đất） 阮英舒 Nguyen Anh Th 紀錄∣ 2011 ∣ color ∣ 15min
土地問題近年困擾著許多越南人。不單是官方土地 計劃會議中爭論不休，在首都河內市郊一個正都更為新 市鎮的村莊裡，人們同樣天天為居住而苦惱！地價持續 地飛漲，也對所有村莊（現改稱城鎮）居民的生活造成 極大改變。心隨境轉，還是境隨心轉？每一個人都在尋 找自己的一套適應方式。 A subject that has haunted many Vietnamese in the recent years is land. Not only in land planning conferences, but also in a village that has been upgraded to a town on the outskirts of Hanoi, the daily concern of the people there is also land. The land price
家有惡童 Give Me A Ticket To Childhood（Cho tôi một vé về tuổi
increases and the lives of all residents in this village (now called town) have significant changes. Each person has their own attitude to adapt the changes.
thơ） 阮明芳 Nguyen Minh Phuong 紀錄∣ 2012 ∣ color ∣ 16min
隨著中產階級人口的增加，許多越
男生女生變 Who Are You?（Bạn là ai?）
南小孩的童年生活早已豐衣足食，甚至
黃玄媚 Hoang Huyen My
被百般呵護，但一不小心，可能就演變
紀錄∣ 2011 ∣ color ∣ 20min
成親子相處間的難題或對立。本片導演 將攝影機朝向自己的家庭內部，紀錄最
Sun 的生理上是個女孩，喜歡打扮得跟男生一樣、
熟悉卻也最難客觀面對的父親、母親和
喜歡同性。她可以用符合自己內心想要的穿著，與朋友
弟弟。除了直接曝露家人關係，亦試圖
們自然相處，但在家人面前卻無法如此。Sun 辛苦地以
透過多角度的碰撞、提問，間接反映出
兩種面貌活著，徘徊在兩個衝突的世界。如何做自己、
更多關於越南教育及中產家庭的現況。
又同時被家人接納，這會是永恆難解還是暫時的問題
With documentary Give Me A Ticket To Childhood, the camera follows familiar
Sun is a tomboy, likes to dress like a boy and loves people
characters such as father, mother, brother,
of the same sex. To Sun, to friends who are similar to Sun, that is
director Minh Phuong makes the best use of the
natural, but to Sun’s family, is not. Walking on the fine line between
right time to sketch out a lively picture of his
two desires: being herself and being accepted, Sun has to find a
family with a multidimensional view and many
temporary solution. Touching on a hot and controversial issue,
questions addressing various hot issues of the
Who Are You? is daring in terms of expressing, and straightforward
current Vietnamese education as well as family
in its point of view. Like its own character who has to live with two
culture.
faces, the film oscillates between two conflicting worlds.
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呢？
在 生 活 即 是 戰 爭
巷弄生存日記 Saving（Để Dành） 偉阮英風 Vy Nguyen Anh Phong 紀錄∣ 2012 ∣ color ∣ 13min
婦人、二兒子和大兒子一家生活 在河內舊城區中一條細小的巷弄裡。 與許多常居在此的家庭為鄰。她的生
失落的真善美 Story Of Kindness / How To Behave （Chuyện Tử Tế）
兒子。她對人生沒有抱怨，只能不斷
The woman lives with her second son and her first son’s family in a small alley in Hanoi’s
癌 症 末 期 的 攝 影 師 Dong Xuan Thuyet 請 他 的 朋 友們製作一部以「tử-tế」為主題的電影（在舊時漢 越字詞中，tử 與 tế 两個字 合起來，表示最微小的 節），去闡述關於人類間的關係、博愛及仁慈。於 是 作 者 開 始 挖 掘 越 南 國 家 口 號 的 背 後 真 相， 揭 示 社 會 底 層 的 困 苦 場 面。 本 片 製 作 於 1980 年 代 末、 越南的社會主義統一重建時期結束前，因不迎合官 方宣傳題材，而顯得罕見，甚至一度被列為禁片。 導演陳文瑞（Tran Van Thuy），當時身在被國家控管的 電影體系中，勇於涉險拍攝本片，追求心目中的真 理。雖然這已是二十七年前完成的作品，但並未喪失 與現今的關聯，尤其值此越南再度面臨社會轉型的變 動時期。 Dying of cancer, the cameraman Dong Xuan Thuyet asks
—human
relations, fraternity or, simply, kindness…Story of Kindness is a very rare Vietnamese film produced before Vietnam's socialist subsidy period ended in the late 1980s, but not catering to the usual official propaganda lines. Tran Van Thuy, as all other filmmakers of that time, was working within the statecontrolled film system, yet he was so brave to the extent of risking his own security to make a film that forcefully pursued the truth. Although the film was produced as long as 27 years ago, it still hasn't lost its edge and relevance today, especially as the Vietnamese society is once again going through a turbulent
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養活自己及其中一位患有精神障礙的
會威脅到他們生活的大小事件……
紀錄∣ 1987 ∣ color ∣ 43min
period of transition.
年事漸高的她每天仍以販賣綠茶，來
保持冷靜堅毅的態度，面對每個可能
陳文瑞 Tran Van Thuy
his friends to make a film on the subject of “tử-tế”
活等同於一連串憂勞無返的工作歲月。
old town, where lots of families in the same company have been living for years. Her life is a series of relentless working years along with uncompensated losses. At an old age, she still sells green tea daily to support herself and her mentally incapable son. Being asked about her life, she has no complaints but keeps her calmness as well as is always steady at every event that may threaten their life.
｜ 左 ｜ 邊 ｜ 的 ｜ 亞 ｜ 洲 ｜ 系 ｜
邊緣人物 ──紀錄片專題
Marginal People: Documentary Film Program 「邊緣」是一種相對概念，可泛指地理上的邊陲， 或任何主流之外少數群體的處境。如沿海漁村面臨全 球氣候變遷的威脅；農民至城市蓋高樓卻過著河岸上 的帳篷生活；女工依賴外資廠商謀生而命運載浮載沉； 同性戀者在傳統「恐同」環境中現身與融入……藉由 詩意溫柔的記錄影像，一齊向邊緣的彼端傾訴。 “Being marginal” is a comparative description. It can refer to staying in geographical margins, or living as a minority group other than the mainstream. A coastal village may be threatened by climate change, and farmers could have helped to build skyscrapers while still living in riverside tents themselves. Female factory workers struggle to stay with foreign companies to live a better life, while gay people carefully make a presence in a conservative, homophonic society and try to fit in. Stories are told by marginalized people to the majority groups through these poetic documentaries.
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在 邊 女工之夢 緣 Worker's Dream 人 （Giấc mơ là công nhân） 物 陳若草 Tran Phuong Thao
愛男愛女 Love Man Love Woman （Chuyện thày Đức） 阮純詩 Nguyen Trinh Thi
紀錄∣ 2007 ∣ color ∣ 52min
紀錄∣ 2007 ∣ color ∣ 50min
2007 法國真實電影節青年導演獎
2007 舊金山國同志電影節
以實行社會主義卻逐步進入世界資本
大師劉玉 （Lưu Ngọc Đức）是河內市
體系的越南為背景，追蹤幾位年輕女子為
最為突出的靈媒之一，導演阮純詩來到他
了進入外資工廠謀生，而從貧窮的北部省
所處的社區，藉由關注習慣男扮女裝的主
分，遷移至首都內河市附近的工業區。從
角，與他周遭充滿生氣的人群，探索在越
她們真誠且深入的陳述中，透露了僱傭過
南往常「恐同」社會裡，這位具有所謂娘
程的剝削，及外資工廠要求高效能卻低薪
娘腔及同性戀特徵的男性，如何於傳統母
苛刻的勞動條件。市場消費主義的誘惑，
道信仰的宗教場域中，找到立身處世的方
和她們想望改善生活與家計的行動，交互
式；也為觀者提供一種有別於西方對性別
拉扯出建設發展中的矛盾現實。本片為導
問題的解讀。
演陳若草（Tran Phuong Thao）顯現人道關
Through Master Luu Ngoc Duc, one of the
懷視角、在國際獲 的紀錄片首作，其它作
most prominent spirit mediums in Hanoi, and
品如《人間有你》（With or Without Me）及
his vibrant community, the film explores how
《親親爺爺》（Grandfather）曾分別受邀展
effeminate and gay men in homophobic Vietnam
於 2013 新北市電影節與 2014CNEX「愛去．
have traditionally found community and expression
愛來」影展。
in the country’s popular Mother Goddess Religion,
Set in socialist Vietnam’s integration into the world capitalist system, this moving documentary follows the lives of several young women from poor northern provinces who migrated to Hanoi in hopes of finding work in foreign-owned factories in an industrial zone near Hanoi. In their candid and intimate narratives, these women workers revealed the exploitation of some domestic employment temporary agencies, the harsh working conditions with high speed and low pay in foreignowned factories, the temptation of consumerism in a market system, the implications for the environment in Vietnam, and their dreams and actions to improve their lives and their families.
Đạo Mẫu.
｜ 左 ｜ 邊 ｜ 的 ｜ 亞 ｜ 洲 ｜ 系 ｜
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消逝的海岸線 Nautical Mile 2011 （Hải Lý 2011） 范秋姮、陳清軒 Pham Thu Hang, Tran Thanh Hien 紀錄∣ 2011 ∣ color ∣ 7min
在越南北三角洲海岸的一個小漁 村，正面臨海平面上升帶來的問題。居 民的土地與大海比鄰，氣候變遷的影響 便首當其衝。連岸邊古老的教堂也難逃 隨著時間被海水摧枯拉朽的命運。影像 中的動與靜皆詩意如畫，彷彿為此蕭瑟 殘景留下印記，低語訴說一個簡明又普 世性的環境訊息。 A fishing village on the coast of the Northern Delta has to deal with salt water intrusion. While land is extended out to the sea and elsewhere, these people must face the consequences of climate change. Even the Ancient Church cannot escape the destructive force of time and the harshness of change. With still and moving images of picturesque visuals, Nautical Mile 2011 leaves enduring marks and carries a simple yet universal environmental message.
胡文和 Ho Van Hoa 紀錄∣ 2011 ∣ color ∣ 14min
原本在郊外生活艱難的窮困農人， 必須轉行到河內市區當泥水工，才能勉 強糊口度日。每天卸下簡陋的個人保護 裝備後，他們回到髒污運河旁的臨時帳 蓬，盡可能省吃儉用，並相濡以沫地克 服思鄉之情。城市化下的悲苦及灰暗， 藉由冷靜平緩的鏡頭，讓這群在吊車與 高樓大廈間討生活的人們娓娓道來。 The struggling lives of poor farmers from countryside, trying to make ends meet in Hanoi as masons are not simple. Working in construction sites, they have to wear personal protective equipment and obey the rules of the employer. Returning to temporary shelters next to filthy canals, they live in community to reduce spending and try to get over homesickness. The way Masons nonchalantly and calmly lets the characters talk while facing cranes and skyscrapers paints a painful picture of the downside of urbanization.
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高樓邊的帳篷 Masons（Thợ hồ）
在 ﹁ 「美」夢成真 美 ──紀錄片專題 ﹂ 夢 Past Nightmare, Future Dreams: 成 Documentary Film Program 真 越戰時期，美國對越南的侵略舉世皆知，而今日越南，某些人依 舊背負著戰時遺留的傷痕，軍事行動早轉為資本主義的來襲，傳自西 方的文化風潮或美好生活模式，也已成為當地年輕人追求自我實現的 效仿途徑。不同世代間的夢魘╱夢想如何矛盾並存，四部觀念互異的 紀錄片，對照出不可承受的輕與重。 The world knows that the United States effectively invaded Vietnam during the Vietnam War. Today, certain elders still bear the scars inflicted by the war. Yet military actions have long been replaced by capitalism, cultural trends and a rosy outlook of life, and the young locals now long to pursue their ideals like their western counterparts do. How shall the nightmares / dreams of different generations cohabit in a somewhat strange kind of peace, and how do these four documentaries, their views, present the unbearable lightness and heaviness of being?
｜ 左 ｜ 邊 ｜ 的 ｜ 亞 ｜ 洲 ｜ 系 ｜
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20 歲的天空 When We Are 20（Khi ta 20） 阮英舒 Nguyen Anh Thu 紀錄∣ 2011 ∣ color ∣ 15min
三個剛好滿二十歲的女孩，一位追 求成為職業模特兒；一位夢想出國讀書； 另外一位則以結婚生子為首要目標，她 們真誠地展開對自我認同的實現。片中 可見越南年輕女性關於未來的嚮往及想 像，在她們身上，似乎漸漸看不到戰爭 世代所背負的沈重包袱，而多了一點現 代生活的普遍憂慮。 The story is about the choices of 3 girls who have just turned 20 in Hanoi capital city. One wants to become a model. One wants to study abroad. The other wants to get married and become a mother. Their honest confidence opens a diverse and colorful picture of a generation who thinks about themselves, lives for themselves in the interrelation with the present.
西貢塗鴉客 Saigon—the sleepless city (AM to PM)（Sài Gòn thành phố không ngủ (AM to PM)） Siro
紀錄∣ 2011 ∣ color ∣ 22min
塗鴉藝術被帶入越南，甚至已經活躍了好一段時 間。其中有一群喜歡在深夜時段進行街頭彩繪的年輕 人，習慣被稱作「塗鴉藝術家」。儘管社會大多對這種 行為抱持反對和歧視的態度，他們仍不減熱情、投入全 部精力於創作之上。有趣的是，許多河內市區常見的塗 鴉壁畫、背後創作者們皆在本片「半現身」說法，反映 出外來文化的影響，及某種對自由的渴望。 Graffiti has been imported into Vietnam for some time and flourished for about five years. The film is the story of young people who love painting on the streets—the “graffiti artist” —the way that people talk about them. They work mainly at night early dawn. Despite opposition and social discrimination against their passion, these young people still live with total dedication to their work. An interesting point of this documentary is the “appearances” of the creators of the wall paintings in Saigon—those are anonymous but famous in Saigon graffiti scene. Made by the insiders, the documentary is so vibrant and full of true feelings.
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在 ﹁ 美 ﹂ 夢 成 真
｜
霧中傷痕 March Fog（Sương mù tháng 3） 張武瓊 Truong Vu Quynh 紀錄∣ 2011 ∣ color ∣ 37min
1968 年 3 月 16 日一個起著大霧的
早晨，美軍第 23 步兵師第 11 旅第 20
土地屬於誰？ Who Owns The Land?（Đất đai thuộc về ai?） 段紅黎 Doan Hong Le 紀錄∣ 2010 ∣ color ∣ 55min
團第 1 營 C 連的官兵，發動了歷史上 留 名 的 美 萊 村（Mỹ Lai） 大 屠 殺， 在
奠玉—─越南中部、峴港市附近的一個小鄉鎮，
越南廣義省（Tỉnh Quảng Ngãi）殺害了
美越戰期間是反抗美軍的重要據點之一，當地人為了
504 位無辜的民眾，此事件後來引起美
保護他們的土地而紛紛參戰犧牲。越戰結束的三十五
國國內的反戰情緒。劫後餘生者中，
年後，美國商業投資者回到這裡、聯合政府單位，企
有兩位在美萊事件紀念中心工作，每
圖徵收農地來建造一個高爾夫球場。在人民極力想維
一天他們都在回顧及正視那段令親友
持農耕生活、爭取土地權益的抗爭聲中，歷史，顯得
失去性命的慘痛經歷。在他們腦海裡，
格外諷刺。
悲傷回憶彷如那場三月的霧，永遠地 籠罩著。
Dien Ngoc, a town close to Da Nang city, used to be a heroic land of revolutions, people sacrificed a lot to protect their
In the fogg y morning of March 16,
land. 35 years after the war, American investors return to build a
1968, a group of American troop committed
golf course on the same farmers’ lots. The film portrays the fight
the My Lai massacre, killing 504 innocent
for the land of the farmers in Dien Ngoc.
civilians in Quang Ngai. Among the victims who survived, two are currently working at Son My Memorial Centre. Everyday they have to revisit and confront the past with the haunting recollection of the incident that fell upon their loved ones. To their mind, the fog layer that covered the horrendous memory has seemingly never faded away.
左 ｜ 邊 ｜ 的 ｜ 亞 ｜ 洲 ｜ 系 ｜
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EX!T Series
EX!T
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焦 點 影 人
焦點影人 ──阮純詩專題
Filmmaker in Focus: Nguyen Trinh Thi 阮純詩（Nguyen Trinh Thi）是以河內為實踐基地 的獨立電影兼錄像／媒體藝術家，她將新聞學、攝 影、國際關係及民族誌電影等豐富的學養背景，化作 多樣性的音像藝術創作、研究與推廣，藉此揭開被主 流論述所隱蔽、曲解而遺失的歷史區塊，並不斷試驗 藝術家在越南的身分位置，建立批判反思視角。作品 廣受邀展於歐美、亞洲等地，如新加坡雙年展、雅加 達雙年展、台北關渡雙年展、奧伯豪森國際電影節、 曼谷實驗電影節等。 A Hanoi-based independent filmmaker and video and media artist, Nguyen Trinh Thi turns her rich knowledge in journalism, photography, international relations and ethnography into the making, study and promotion of video art, and aims to unveil the lost parts of history once hidden or distorted by the mainstream. She has also continued to experiment with and reflect upon an artist’s status and position in the Vietnam society. She has been widely invited to participate in international events throughout Europe, America and Asia, such as the International Short Film Festival Oberhausen, Singapore Biennale, Jakarta Biennale, Bangkok Experimental Film Festival, and Kuandu Biennale in Taipei.
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阮純詩 Nguyen Trinh Thi 實驗∣ 2011 ∣ B/W ∣ 6min 2012 曼谷實驗電影節
這是阮純詩的「越南經典舊片衍用」系列首作。她 （Song 使用 1973 年出品的越南戰爭主題電影《前線戰歌》 To The Front），作為改作的素材。拆解了該片原為社會
寫實音樂劇，所具有的美學範式及浪漫元素，換以跳接 手法剪輯其中的固定式鏡頭畫面，搭配史特拉汶斯基的 古典樂《春之祭》，來打破原電影的核心敘事，並轉化 為抽象短篇。目的是希望讓觀者有更多想像空間，去重 新解讀那些強迫塑造思想觀點的史詩鉅作。 This is the first from the intended “Vietnamese Classics ReCut Series” by Nguyen Trinh Thi. "Song To The Front by Vietnamese artist, Nguyen Trinh Thi takes a historical Vietnamese war film from 1973 as its central source. Re-editing Bai ca rat ran (Song To The Front), produced by the Vietnam Feature Film Studio and directed by Tran Dac, Trinh Thi has turned this rarely seen black and white classic feature into a small vignette that decomposes the aesthetic and romantic elements of this social-realist melodrama. ...Trinh Thi’s version of Song To The Front plays with the original plot line in a deliberately ambiguous manner, desiring an imaginative space for the viewer to reinterpret what were intended to be very literal epics that enforce an ideological view. ..." (Written by Zoe Butt, Director and Curator of Sàn Art, Ho Chi Minh City)
EX!T Series
前線戰歌 Song To The Front（Bài ca ra trận Re-Cut）
失聲的編年史 Chronicle Of A Tape Recorded Over（Biên niên sử cuốn băng đã bị xoá） 阮純詩 Nguyen Trinh Thi 實驗記錄∣ 2011 ∣ color ∣ 25min
2011 奧伯豪森國際短片電影節 / 2011DMZ 韓
國國際紀錄片電影節 / 2012 曼谷實驗電影 節
作者踏上了後世皆知、越戰時所謂 的「胡志明小道」，這組在叢林中綿長的 軍事通道網路，連接著越南的北方和南 方，對於北越社會主義終能在 1975 年打 敗美國支持的南越政權，曾發揮莫大功 用；但戰時因美軍的強力轟炸，有難以 計數的越南人死傷於道上。攝影機沿著 這些路徑，觀察當地村民的今日生活， 引導他們已接龍的方式建構自身的故 事。作者並置了現在與過去、真實及虛 構，努力地匯編一份採集而來的歷史。 Using ‘exquisite corpse’, a method by which each collaborator adds to a composition in sequence, the filmmaker began her journey over the Vietnam War’s notorious Ho Chi Minh Trail. This interconnected system of jungle roads connecting the North with the South was instrumental for the eventual victory of the Vietnamese communists from the North over the American-backed Southern regime in 1975. Tens of thousands of people died along this trail during the war as it was heavily bombed by the American army. Along these roads, the filmmaker the camera was observing their present-day life, merging past with present, reality with fiction, in her effort to assemble a piece of collective history, a history told by the people from the bottom up.
33
Director
asked local villagers to contribute their tales while
焦 點 影 人
序破急 Jo Ha Kyu 我為美而死 I Died For Beauty 阮純詩 Nguyen Trinh Thi 實驗∣ 2012 ∣ color ∣ 9min
某家亞洲工廠正舉行開幕慶祝典禮，穿著正式的 歐洲人遍佈會場，彼此握手寒暄，引頸期盼地環顧四 周。隨這曖昧不明的開頭，和西方古典樂曲的推進， 可發現廠內亞洲工人都被監看著，將要放入展示廳的 機車零件處理得亮麗新穎。同時，影像及音樂常因突 然穿插的工廠環境音，造成不和諧的視聽衝擊；而詩 人艾蜜莉 • 狄金森的詩作《我為美而死》（I died for beauty），亦被引置到這個屬於當代及全球化的境況之
中，反思什麼是「美」？誰又為美犧牲？
實驗∣ 2012 ∣ color ∣ 12min 2012 英國布里斯托短片及動畫節 / 2012 奧
伯豪森國際短片電影節 / 2013 新加坡東南 亞電影節
在日本傳統通俗藝術的敘事結構 中，「序破急」（jo-ha-kyû）是一項不可 或缺的創作概念，但本片作者對其意 涵採取較為鬆散的詮釋及挪用，用它 來對應自己於日本 311 大地震後（2011 年）、在東京的主觀經驗。依此方式， 這部作品欲探討的是關於具象／抽象 間的衝突及共存──在客觀觀察與主 觀經驗之間，敍事與非敍事之間，紀 錄與虛構之間。
Set in a factory in Asia during an undefined celebration
The essential concept of narrative
event, Europeans in suits are seen in long wandering shots as they
structure in traditional Japanese temporal arts,
greet one another, shake hands discretely, and look about them
jo-ha-kyû, is loosely interpreted against the
expectantly. Further into this ambiguous opening, and propelled
filmmaker’s subjective experience of Tokyo
by classical Western opera and symphonic orchestrations, Asian
shortly after the 2011 Japanese earthquake. In
workers are observed putting finishing touches of paint and
a way, the piece is about the conflict and co-
polish onto gleaming surfaces of what will soon be on display
existence of the concrete and abstract worlds,
in motorbike showrooms. The images and music are sharply
between objective observances and subjective
punctuated by the abrupt and raw intrusions of live factory
experience, narrative and non-narrative,
sounds that conclude in a jarring visual exclamation, exhuming
documentary and fiction.
the verses of an Emily Dickinson poem and laying them out in a contemporary and globalized context.
34
阮純詩 Nguyen Trinh Thi
EX!T Series
風景系列 1 Landscape #1 阮純詩 Nguyen Trinh Thi 錄像（原為錄像裝置）∣ 2013 ∣ color ∣ 5min 2013 雅加達雙年展 / 2013 曼谷藝術文化中心 / 2014 福岡美術三年展 / 2014 法國尼姆當代藝術館
旅程中，遼闊空曠的景色反使人自疑：我 究竟在追尋什麼？ 一個神秘的東西，一個犯罪
場景，還是驚奇懾人的事物？ 作者表示，當她
metaphor with the idea of landscapes as quiet witnesses to history in mind, the artist came upon hundreds of images online in which anonymous persons were portrayed in
於網路上搜尋舊檔案照片時，無意間看到數百
landscapes ─ and always in the same position, pointing
個景物圖像裡，存有許多被攝者，他們都呈現
to indicate a past event, the location of something gone,
同一種姿態──即用手指著某方，去說明一些
something lost or missing. We are left knowing nothing
過往的事件，一些事物消逝的地點，或證據的
about the people, their specific thoughts or feelings, only
所在──就如同見證（或指證）者般。於是，
with their repetitious sameness ─ always indicating,
她把無數越南新聞攝影師所描繪、大量且姿態
pointing to ‘evidence’ of something ─ never good.
一致的見證者影像聚集起來，彷彿他們集體指
Together these anonymous witnesses, portrayed in
出一個方向，一條能走出過去的道路，或一段
compelling uniformity by innumerable Vietnamese press
虛構的旅途。
photographers, seem to be indicating a direction, a way
As the journey starts, wide empty landscapes make
forward out of the past, a fictional journey.
one wonder what one is looking for. A mysterious object? A crime scene? Something horrifying? The scenes are to any concrete solution ─ only an injury in place of a
35
Director
getting more and more specific, but they do not lead
特 別 注 目
特別注目 ──范筱的混種視界專題 Special Regard: Siu Pham’s Hybrid Vision
年逾六十的越南實驗電影創作者范筱（Siu Pham）， 其作品向來難以歸類，她擅長於個別作品中混融紀錄、 劇情、行為表演、後設等情境，手法大膽且自由多變， 使跳躍不連貫的影像結構竟能自成一格。隨意捻來的當 代視覺語彙，準確凸顯在全球化浪潮下，越南企圖與世 界接軌、步入爆炸式發展，所衍生的文化衝突及被扭曲 的荒謬生命樣態。沉重之餘，像似一則犀利卻不失幽默 的寓言
示。
In her sixties, Vietnamese experimental filmmaker Siu Pham has long been known for her genre-defying works. She excels in mixing documentary, feature film, performance art, and meta-art in her individual artworks. Her approaches are so daring and freeflowing that the otherwise incongruous images become one unique, harmonious entity in her world. The visual language which seems to have been developed on her impulse renders a sharp picture of Vietnam struggling to catch up with the world under globalization through rocket development amidst cultural conflicts and distorted, absurd lives. Despite their heavy themes and penetration, her films are fun enough to be called fables.
36
EX!T Series
山下沒有霧樂園 Fog Over The Summit And Storm In The Plain 范筱 Siu Pham 實驗記錄 / 表演∣ 2014 ∣ color ∣ 43min
一座主題樂園建造在被迷霧圍繞的 山頂，象徵西式流行大眾娛樂已深深植 入亞洲。在山腳，一位辛勤工作的農夫， 試著耙理一小塊地。他的土地上，有間 簡陋房舍，讓一位西方畫家用來當作工 作室。雖然兩人不懂彼此語言，但因相
西貢浮世繪 Homostratus-Mother’s Room （Căn phòng của Mẹ）
互尊重及共享對大自然的感受，逐漸建 立起友誼。有一天，暴風來襲引發了洪
范筱 Siu Pham
水，農夫跑來告訴畫家，自己父親過世
實驗紀錄 / 敘事 / 表演∣ 2014 ∣ color ∣ 77min
的噩耗……然而風災過後，山上的美好
2014 紐約皇后區世界電影節最佳視覺效果獎 /
樂園未受太多影響，繼續誘惑著在霧中
2014 法國克緹爾女性影展 / 2014 河內國際電影節
的人群。 一個處於爆炸性發展的城市，過度擁擠的人群、機
on a mountain, the western mode of popular
車，全都交雜在同個循環流動裡，群眾無意識地載浮載
mass entertainment begins to intrude to the far
沉。混沌之中，日常生活可能成為某種集體宿命：一個
lands of Asia. At the mountain foot, a farmer
祖母行將就木、一個離婚的女人不願照顧她那正值青春
is working hard, trying to plow on a small
期的小孩、一個焦慮的父親教導兒子如何賺取生活費、
piece of land. On the land he works, there is a
一個年輕人夢想著免工作也可享有幸福生活；甚至，全
dilapidated house where a western painter uses
球透明化的新規則也以各種正當名義干涉著人們的私
as his working place. Although these two men
生活……這是一則怪誕的詩篇，講述在任何一座險中求
do not understand each other's language, but a
進的大城市中，平凡人的奇特命運。
friendship is born between them, due to mutual
In a city with explosive development, overcrowded streets
respect and shared feelings for nature. The area
full with people on motorbikes, as if circulating streams where
suffers form flood every year, one day when the
people floating unconsciously. In such chaos lies a common story,
windstorm begins, the farmer told his friend
where daily lives could be a particular collective destiny. A grand-
of his father's death. Of course the white man
mother is dying, a divorced woman who does not want to take
cannot assist the funeral, he shared his sadness
care of her teenage child, an anxious father teaches his son earning
with the farmer by painting a picture of a man
his own living, a teenager dreams of a lucky life without having to
as a refection about the death. Meanwhile,
work, and new global rules of transparency affecting private lives.
amusement parks in the mountains continued to
Homostratus-Mother’s Room is a strange poem on destiny of an
entice the crowd in the fog…
ordinary man, living in any big city full with risks and chances.
Special Regard
37
An amusement park is built in the fog
虛 構 非 虛 構
虛構非虛構 ──實驗錄像專題
Fiction Non Fiction: Experimental Video Program 對越南當代實驗錄像來說，「虛構非虛構」這悖論式的標題，至 少為兩個範疇作了提示：形式方面，紀錄／虛構、敘事化／抽象詩意 化、電影／錄像藝術等屬性大哉問被暫時擱置，捨棄講究純粹性的審 美品味，以視聽語彙的多重（不）合理運用，召喚複雜的（超）現實 信息。社會學層面，則在相對壓抑的體制結構下，利用真實虛幻並進 的曖昧手法，作為抵抗、突穿桎梏的最佳策略。本專題梭行於外在時 空與個人精神世界的交疊及斷裂之間，亦是上述特徵的局部例證。 When it comes to contemporary experimental video art in Vietnam, the paradoxical theme of “fiction / non-fiction” helps to shed light on at least two things in two fields. Form-wise, the conventional comparisons between documentary / fiction, realistic narration / abstraction and poeticness, and film / video art are now left aside. Pure aesthetic pursuits have thus been overweighed by a more diverse visual and audio grammar (although sometimes illogical) to evoke delicate, (sur)real messages. Sociology-wise, within a relatively repressed structure, a half reality, half fantasy-based ambiguous approach is taken to fight and penetrate barriers. Walking to and fro external environs and one’s spiritual world through their cracks and seams, this program well manifests the aforementioned phenomena.
38
EX!T Series
黑色太陽 Black Sun（Mặt trời đen） 張桂芝 Tr ng Que Chi 實驗記錄 / 表演∣ 2013 ∣ color ∣ 12min
2014 奧伯豪森國際短片電影節獲 / 2014 義
大利都靈影展
《黑色太陽》（Black Sun）原是一首 1970 年代的越南搖滾歌曲，描述 1975 年
統一前夕南越年輕人的心聲。時過境遷， 一對年輕情侶漂泊於快速建設中的城 市，馬路因四處施工而顛簸、舊街屋不 斷被拆、高樓沿著地平線成排而起。他 們努力地想從五光十色的城市空間內， 尋覓到一處幽僻角落，因為在那裡，他
藍氣球之旅 Travel With A Blue Balloon （Đi chơi với quả bóng xanh）
們才擁有私密的時光，及短暫的平靜。 Black Sun is a Vietnamese rock n' roll song from the 1970s. Now the youths here are still singing this song. A young couple float around the most vibrant city of Vietnam. The city is
孔越百 Khong Viet Bach
an ongoing construction site with bumpy bare
錄像∣ 2014 ∣ color ∣ 9min
roads, slanted brick walls being demolished to give place to more high-rises which already line
帶著一顆藍氣球上路，開
up along the horizon. The people in it wander
途。作者讓藍氣球引領著他去到一些地方、接觸陌生
from brightly lit spaces full of sounds and colours
人，發展出短暫但有趣的交流。在既定路線與隨機的
to smaller corners which enable quiet exchanges
逸離、轉換間，也投射了作者對創作的理解和態度。
and intimate contacts. Amid the mosaic of things
Travels with a blue balloon. In a free and surprising way, a
which exude both liveliness and unrest, the city’s
balloon leads the filmmaker to some interesting connections with
young folks still manage to find their own way to
places and strangers.
an inner peace.
Experimental
39
一趟自由與驚奇的旅
虛 構 非 虛 構
事件 1953 Case 1953（Hồ sơ 1953） 阮水仙 Nguyen Thuy Tien 實驗記錄 / 表演∣ 2013 ∣ color ∣ 10min
本片假設有一位女子—水仙，她的回憶中出現一 段空白。因此，她試圖從一名重要男子的生命史中， 找到自己存在的證據。她將自己想像為每個曾與男子 合照的女人，利用旁白虛構出拍照當時的情境。本片
四口之家 Film No. 1（Phim số 1） 謝明德 Ta Minh Duc 實驗記錄 / 敘事∣ 2013 ∣ color ∣ 27min
父親、母親和兒女，都出現在同 一個居住空間，事實上卻獨自活在各 自的小天地。本片以趨近紀錄片的拍 攝方式，輔以低限敘事脈絡，及固定 式長鏡頭， 探測家人關係間的孤寂， 建構一個壓抑、疏離的現代家庭切面。 The film examines the loneliness in the relations between the family members: father, mother, son and daughter; existing in the same space, the characters appear together but live separately in their own worlds. 40
結合了平面影像、畫外音、行為表演等技巧，為「存 在」及影音建構的「真實性」進行了多重辯證。 Case 1953 is the hypotheses of the gap in the memory of someone named Thuy Tien. She searches for evidence of her existance in the history of an important man.
EX!T Series
他方彼岸 Another Place Across The River （Ở Nơi Một Khác Bên Kia Sông） 張公松 Truong Cong Tung 錄像∣ 2014 ∣ color ∣ 9min
「越過這條河到另一個地方——天 堂、地獄、拯救、罪惡、懺悔、惡魔、 上帝……」這是作者在湄公河三角洲進 行田調旅行後所製作的電影。影片材料 包括旅途中拍下的紀錄影像，及部份虛 構性的元素。一艘擱淺棄置的船；一個 沒來由演奏起喪禮樂曲的管樂隊；一個
生命之輕 Light-Being（An nhiên）
男子俯趴在地上，面向他剛挖好的土坑； 一棵樹，一畦池塘，一顆大石，一支旗 幟，一場大火等。它們對作者而言都象 徵著人類與大自然的關係情況。他的作
阮皇江 Nguyen Hoang Giang
品嘗試去挖掘關於社會現實的問題，更
實驗動畫∣ 2014 ∣ B/W ∣ 4min
進一部地，提出城市發展對於個人／社 會群體在心理／生理兩方面，潛在的改
個體的、微觀的、繁衍的、複製的、群體的、社 會的、變異的、混亂的、自我與他者的……所有對於 生命現象之形容，或許皆因回歸本質而復於安寧。 Light-being；Adjective；Calm, tranquil by nature.
變及影響。 Another place across the river-heaven, hell, salvation, sin, repentance, evil, god…” The film integrates documentary footage taken during the filmmaker’s trip around Mekong Delta region, with footages containing fictional elements. A stranded ship, a band that plays funeral songs for no apparent reason, a man who lies down with his face facing a pit dug by him, a tree, a pond, a rock, a flag, a fire...they are signs signify, and nature. Truong Cong Tung’s work tries to provoke questions about social reality, and to raise underlying questions about changes and impacts of urban development.
41
Experimental
ins condition and relationship between humans
公 眾 場 域
公眾場域 ──實驗錄像專題
Public Spaces: Experimental Video Program 延續「虛構非虛構」專題所展現的越南實驗錄像特徵，本單元探 索遊走於新舊媒材或具有跨媒體特質的錄像作品。數位攝影機／ 8 釐 米膠卷、電視機載體／廣播文本，分別通過直觀感性的攝錄或理性再 配置，介入城市、住宅、交通運輸工具、廠房、郊區等公眾現場。這 並非單純對越南的群體行為或空間紋理，進行眾生相般、人文地景式 的調研拓印，更欲感知越南創作者的影像空間部署，如何拆解／重構 現實場域，建立當代性的視域？甚至思考電影空間在越南如何成為一
種公眾場域的問題！
In continuation of the Fiction Non Fiction: Experimental Video Program, which demonstrates the characteristics of experimental video art in Vietnam, this program explores more video artworks that either straddle between new and old mediums or possess a cross-media nature. Digital camera / 8mm film, TV as a carrier / broadcast text, through human emotion-based video works and mechanical arrangements, make their presence in private homes, transport systems and factories. They can be found both in the cities and the suburbs. This is not just any gross survey on a cultural landscape, some group behaviors, or the texture of a space. This is to learn how Vietnamese filmmakers deploy space in their works and build a contemporary vision by dissembling / reconstructing reality. How the cinematic space may serve as a kind of public space in Vietnam is also taken into account here.
42
（Trên Những Chuyến Tàu） 陳清軒 Tran Thanh Hien 實驗記錄∣ 2010 ∣ color ∣ 8min
這完全是在一輛往返河內市及海 防市之間的火車上，所做的觀察紀錄。 本片鮮明地呈現了火車裡的乘客各種樣 態，及沿途風光中的景色和聲音，顯示 作者對於臨場事物絕佳的掌握功力。片 末一場偶發事件，在鏡頭精準地捕捉下， 想必令觀者留下一聲嘆息。 An obser vationa l travelog ue ta king place entirely on the train between Hanoi and Haiphong, this film vividly documents the sights and sounds of the train's passengers and passing landscapes.
每個人的故事 The Story Of Ones（Chuyện mọi nhà） 范玉麟 Pham Ngoc Lan
EX!T Series
火車日誌 Train Journal
錄像∣ 2011 ∣ color ∣ 10min
移動的公車上、倉庫裡、客廳、漂浮的船屋、老 舊書店及廠房。以這些熟悉的地點當作不同角色的背 景，現場撥放越南廣播節目，再用固定鏡頭拍攝。《每 個人的故事》是一部紀錄片，它讓觀眾透過廣播和觀 察人物在影片裡對內容的反應，產生對社會的反思。 同時它也是一部具有實驗電影特點的作品，以不同人 物與場景，搭配聲音的設置、剪接，統合了影像結構 的一致性，喚起某種視覺、文字並置上的趣味感。 The Story Of Ones has lots of familiar yet simple, be it contexts on a bus trip, in a warehouse, a living room, a floating houseboat, an old bookshop and a factory. Set against these backgrounds, audiences as well as the characters listen to broadcast radio and television programs. If examined carefully, The Story Of Ones is a documentary, for viewers could comment and reflect on society. It is also a film with distinctive experimental traits, evoking interesting resemblances with the visual—textual juxtaposition game.
Experimental
43
公 眾 場 域
TV 孔越百 Khong Viet Bach 錄像∣ 2012 ∣ color ∣ 6min
河岸留言（顏） At Water's Edge（Đảo Ngọc） 杜文皇 Do Van Hoang 實驗記錄∣ 2010 ∣ color ∣ 17min
把自己的肖像變成畫面，再置入 到不同生活空間的電視機上。《TV》 的作者希望探究自身影像與大眾流行 傳播媒介間的關係。至於是一幅自畫 像？對媒體的一番評論？或一個視覺上
的實驗？作者留下開放式的解讀空間。 Juxtaposing portrait of himself and
河內的主要河道－紅河之中有一塊寧靜的沙洲
the television against diferent backdrops,
小島，那已是一處當地人游泳、求涼快的社交聚點，
the filmmaker of T V sets to explore the
也意外地成了一些人居住的地方。例如，一群來自不
relationship between the image of the self
同社會領域的男人，找到這個遠離城市壓力的天然之
and the popular broadcasting medium. A self-
地，他們愛好在這裡裸泳，毫不在意別人批判的眼光；
portrait? A slice of critique towards the media?
一對年輕夫婦到此以獨特的方式慶祝結婚週年；岸邊
A visual experiment? The filmmaker leaves the
一位離鄉背景的女人，則想透過導演的鏡頭紀錄去找
answers to these questions open.
尋救贖。 The quiet island in the middle of the Red River is a place where swimmer's bodies are cooled in the waters rushing by and lives mingle in unexpected ways. A community of men finds a natural place away from the city’s pressures to swim and exercise in nudity, a young couple celebrate an anniversary in a unique way and a woman seeks redemption through the filmmaker’s lens. 44
EX!T Series
公眾生活 Public Living（Chung Sống） 鄧 祿 Dang Duc Loc 實驗記錄∣ 2011 ∣ color ∣ 9min
The first frame of Public Living gives us a glimpse of the life which is familiar to millions Vietnamese in the
剛開始，那些被暫時掩蓋的老舊區塊，似乎隱
city: social housing. And later the tragedy of marginalized
藏著不可告人的一面。隨後透過鏡頭調度，更
individuals is gradually brought to life.
多場域視角即被逐一揭開，被邊緣化的個體辛
Merging objective documentary and social realism,
酸也漸漸現形。在兼顧客觀紀錄與社會寫實的
Public Living allowed the characters to share their feeling
方式下，作者相當節制自身對於內容上的干涉，
through suggestive questions. While the camera records
僅透過簡單的問題，來讓被攝者自然地敍述及
directly to expose reality, the film reveals a heavy and
分享。關於紀錄片倫理的思考與拍攝位置的選
difficult yet important social subject in contemporary
擇，亦是本片值得我們詳加體會的部份。
society.
Experimental
45
《公眾生活》的第一個畫面，便讓觀者瞥見 數百萬越南人所熟悉的生活場域：社會住宅。
公 眾 場 域
河內城市交響曲 The Sound We See: A Hanoi City Symphony（Những Âm Thanh Ta Thấy: Bản giao hưởng Thành Phố Hà Nội） 集體創作 實驗記錄∣ 2013 ∣ B/W ∣ 28min
《河內城市交響曲》是 DocLab 和洛杉磯
rhythm and movement of daily life in Hanoi from
的 非 營 利 媒 體 藝 術 組 織 Echo Park Film Center
their unique perspectives. Dividing the day into its
(EPFC) ，共同合作的影像計畫。以一個月的工
two-dozen hours, participants shot locations they felt
作坊，集結十八位電影工作者，從當地人的獨
best represented the city at each particular time of day
特觀點出發，紀錄河內市的日常生活及節奏。
and night with each hour becoming one minute in the
他們以一天二十四個小時分段，拍攝一些最能
final film. The result is a spectacular 24-minute journey
代表這座城市的畫面，再將各時段的素材，濃
through Hanoi as it has never before been experienced.
縮為壯觀的二十四分鐘黑白影像，最後由兩位
Shot on black and white Super 8 motion picture
越南音樂家跨刀配樂！另值得一提，本片完全 是由參與者自行操作超八釐米攝影機、沖洗底
DocLab, The Sound We See: A Hanoi City Symphony
片，所攝製完成。且事先以華特r魯特曼（Walter
is a truly do-it-yourself production that references the
Ruttman）1927 年的經典電影《柏林：大城市
classic cinema of Walter Ruttman’s 1927 masterpiece
交 響 曲 》（Berlin: Symphony Of A Great City） 對
Berlin: Symphony Of A Great City while exploring
照閱覽。
new approaches to collaborative creative process and
The Sound We See: A Hanoi City Symphony is a cinematic exploration of the dynamic urban
celebrating the energy and possibility of 21st century Hanoi.
environment of Vietnam’s capital. The film was made
The film is accompanied by a live score composed
in partnership with Hanoi DocLab and the Echo
specifically for the film by local musicians including Tri
Park Film Center (EPFC), a non-profit media arts
Minh and Luong Hue Trinh.
organization based in Los Angeles. For a month, 18 local filmmakers worked together to document the
46
film and hand-processed by the filmmakers on-site at
策展人：張騰元 選片人：潘黨迪、阮純詩、張騰元
特別感謝 吳凡 / 李依佩 / 林仕杰 / 度昀奇
製作人：姚立群 藝術總監：吳俊輝 執行製作：王永宏 技術統籌：林育全 行政：楊凱婷、楊宇軒、陳昱君 英文秘書：陳倩如 文宣美術：劉孟宗 宣傳影像導演：黃鼎鈞 英文口譯：劉姿君、梁家瑜 字幕翻譯：梁家瑜、徐硯怡、陳婉伶、林梓暘 蔡世宗、陳善云
洪容細 / 洪健倫 / 洪滿枝 / 徐明瀚 張文馨 / 梁組盈 / 許岑竹 / 許家維 陳俊蓉 / 區秀詒 / 陳萱白 / 楊子磊 放映週報 Kim Linh / Lisa Marr / Le Vu Phuong Thuy Mai Tuan Cuong / Nguyen Trinh Thi Pham Thi Binh Phuong / Phan Dang Di Phan Xine / Siu Pham / Truong Minh Quy Vu Quynh Ha
手冊編輯：楊凱婷 美術編輯：劉孟宗 手冊翻譯：許恬瑛、陳倩如 主辦 Producer Curator: Chang Teng-Yuan Programmer: Phan Dang Di, Nguyen Trinh Thi, Chang Teng Yuan
合辦 Co-organizers Producer: Yao Lee-Chun Artistic Director Producer: Tony Chun-Hui Wu Executive Producer: Wang Yung-Hung Technical Cooperator: Lin Yu-Quan Administrative Team: Yang Kai-Ting, Yang Yu-Xuan, Chen Yu-Chun English Secretary: Journey Chan Graphic Design: Marco Meng-Tsung Liu Promotion Video Director: Huang Ting-Chun Translators: Liu Tzu-Chun, Liang Chia-Yu Subtitle Translators: Liang Chia-Yu, Yeni Hsu, Chen Wanling, Tzu-Yang Lin, Shr-Tzung Tsai, Verna Chen Program Editor: Yang Kai-Ting Program Design: Meng-Tsung Liu Program Translators: Hsu Tien-Ying, Journey Chan
指導 Sponsors
Staff
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