Jumping Frames 2019 - Programme Guide

城市當代舞蹈團 城市當代舞蹈團於 1979 年由曹誠淵創立， 是

香港首個全職專業現代 舞團， 以體現香港當

代文化及推動當代舞蹈發展為宗旨。舞團保留

了超過二百齣本土編舞家的完整舞碼，也經常 與其他媒介藝術家合作，展現多元化的香港文 化特色。每年演出逾六十多場， 參與人數超過 五萬人次， 並經常獲 邀在美洲、 歐洲、 澳洲

及亞洲共三十多個主要城市演出， 備受國際藝 壇重視。此外，舞團亦致力推廣舞蹈影像，由

2004 年起舉辦跳格國際舞蹈影像節，在亞洲

促 進舞蹈與影像兩種獨立媒體之間的溝通和 對話。

City Contemporary Dance Company (CCDC) City Contemporary Dance Company has been inspiring and exciting audiences with superb contemporary dance performances since 1979. The Company has presented more than 200 original works to critical acclaim under the leadership of Founder and Artistic Director Willy Tsao. The Company is renowned for reflecting the vigour and creativity of Hong Kong’s vibrant, multifaceted contemporary culture, presenting 60 performances to an audience of more than 50,000 people annually. It has represented Hong Kong, receiving frequent overseas invitations to perform on some of the world’s foremost dance stages and at festivals in over 30 major cities.

CCDC is also dedicated to promoting dance video by organising Jumping Frames International Dance Video Festival since 2004. The Festival has showcased outstanding dance videos from around the globe and brought Hong Kong artists and projects to various international dance and video festivals.

跳格國際舞蹈影像節 「 跳 格」於 2004 年由城 市當代 舞 蹈團主 辦， 現已成為亞洲規模最大、 水平最高的舞蹈影像

盛會， 並積極在中國及亞洲地區建立一個交流 平台， 透過委約製作、 比賽、 工作坊、 影展

及座談，促進導演及舞蹈家之間的合作。跳格

以香港為基 地， 並將委約創作 巡 迴至世界各

地， 逐漸成為極具規模的地區性舞蹈影像展。

2014 年跳格分別獲頒發香港藝術發展獎「藝

術推廣獎」及香港舞蹈聯盟舞蹈年獎， 以表揚 其對推廣舞蹈的貢獻。

Jumping Frames International Dance Video Festival Presented by City Contemporary Dance Company (CCDC) since 2004, Jumping Frames International Dance Video Festival is the only festival of its kind in Asia, featuring commissioned works, competition, and a selection of acclaimed international productions. It has served to promote dance video in China and in Asia, as well as to provide a platform for artists and audience alike to share the perspectives and explore the unlimited possibilities of the art form through talks and workshops. The Festival brings the excitement of dance video worldwide through screenings, and enhances cultural exchange through invitations of renowned dance video artists to the Festival, made possible by the support of various national and international partners.

The contribution of Jumping Frames was recognised by receiving the Hong Kong Arts Development Awards Arts Promotion Awards and Hong Kong Dance Alliance Dance Awards in 2014.

目錄

Contents

04 05

08 09 10 11

14 16 20

24 26 27 29 30 32 34 36

臉 Visage

舞影 • 混雙 Hybrid Motion

再見，遊園驚夢 Till Then, Awakening in a Dream 魚 Fish 一一 Ward 11 一棵樹 Someday I Will Become a Rock

我身記憶 Memories of My Body 寫伎書顔 The Written Face 翩翩人生波麗娜 Polina

亞洲舞林短打 Asian Dance Shorts

美味瑪莉亞 Nagimaskan Mayyang 人人之國 The Kingdom of Men 絕龕 Shrine of Our Despair 一舞念任航 A Dance for Ren Hang 風情•刻 Pung Jeong Gak A Town with A Blue Hill 徊 Wandering 其實落雨又有乜好怕喎 Come Rain or Shine

創世紀 Russian Ark 夢女芭蕾 Girl

相／人／再起舞 Look Two Ways Revisited

無名路 On the ___ home 記憶中混濁的霧是我的畫像 Stay If You Can / Go If You Must 遇 Encounter 如人上山 Jyu4 Jan4 Soeng5 Saan1 島與巷 Isle / Alley

冇照跳 Dance Goes On

瑪姬瑪漢《緊急行動》Maguy Marin ― The Urgency to Act

姬爾斯美嘉《在當中》Mitten about Anne Teresa De Keersmaeker 身體年輪 @ 銀青乒乓 Body in Time@GGPPP 最美一幕 Third Act

有天翩娜問 One Day Pina Asked 與翩娜有約 Coffee With Pina

VR 舞蹈影像： 《留給未來的殘影》VR Dance Video: Afterimage for Tomorrow

37

VR 舞蹈影像： 《SWIM 0.5》 VR Dance Video: SWIM 0.5

39

節目表 Programme Schedule

40

原始復刻 ( 影像裝置藝術 ) Primitive Nostalgia (video installation) 購票須知 Ticketing Information

1

節目策劃 Curation

黃國威 Raymond WONG 葉奕蕾 Elysa WENDI

節目統籌及文字編輯 Programme & Copywriting Co-ordination & Editing

黃沛傑 Danny WONG 陳依婷 Jaye CHAN

策展人的話

Message from the Curator 黃國威 Raymond WONG

贊助聯繫及宣傳統籌 Sponsorship and Marketing Co-ordination

黃健剛 KK WONG 邱俊龍 Jerry QIU 劉萍 Erica LAU

文字翻譯 Copywriting Translation

范敏儀 Renee Man-yee FAN@Brainwave Dinah GARDNER 字幕翻譯 Subtitle Translation

陳靜文 Christine CHAN Cora YEUNG 曾逸林 Yilin ZENG 宣傳設計 Publicity Design

Jim @ Good Morning Design 宣傳片製作 Trailer Direction

朱小豐 Siu-fung CHU

票務 Ticketing Co-ordination

鄭宇青 Yu-ching CHENG 鍾詠喻 Jeni CHUNG 實習生 Interns

朱曉慧 Kelly Hui-wai CHUI 黎詠嘉 Vicky Wing-ka LAI 袁中原 Benjamin Zhong-yuan YUAN

城市當代舞蹈團 City Contemporary Dance Company 電話 Tel 2329 7803 傳真 Fax 2351 4199 地址 Add 香港九龍新蒲崗大有街26至28號11樓 11/F, 26-28 Tai Yau Street, San Po Kong, Kowloon, Hong Kong 電郵 Email info@ccdc.com.hk 網址 Web www.ccdc.com.hk 跳格網頁 Jumping Frames Website:

www.jumpingframes.com

Jumping Frames 跳格國際舞蹈影像節 ccdc.hk ccdc 城市當代舞蹈團 2

很高興為大家介紹今年「跳格」的節目。我們在年 初已定下今屆的主題 Portraiture ，希望把焦點回

到創作及表演者的本身， 發掘舞蹈與影像的可能

性。我認為這一點在今天的我城來得特別重要， 我 們重溫過去的事，回憶逝去的人，整理思緒重新上

路。我向各位誠意推介城市當代舞蹈團與西九文化

區及新加坡 Cinemovement 在過去三年合作的成

果⸺《舞影•混雙》的四部短片，讓八位香港及新

加坡藝術家共同尋找舞蹈影像的敘事語言。同時， 我們首次呈獻兩部虛擬真實的舞蹈影像，期望給觀 眾全新的體驗。

在此非常感謝聯合策展人葉奕蕾 (Elysa Wendi) 及 CCDC 同事們對「跳格」投放的心力， 祝各位觀 影愉快。

謹代表跳格團隊深切悼念我們的好友， 《一一》編舞 郭亞福先生。

We can’t wait to share with you all Jumping Frames this edition. Since earlier this year, we have found Portraiture as the theme for the upcoming Festival. By shifting the focus back on the creation and performers, we unearth the possibilities in dance and video. I think this is especially important to our city today. We revisit the past, recall the lost, organise our thoughts and carry on forward. I sincerely recommend the 3-year collaboration of City Contemporary Dance Company, West Kowloon Cultural District and Cinemovement of Singapore — Hybrid Motion, a series of four short dance films. What the eight artists from Hong Kong and Singapore jointly explore is the narrative of dance video. Meanwhile, we are going to present two virtual reality dance videos for the first time, attempting to acclimate the audience to a brand new experience.

I am very much grateful to our co-curator Elysa Wendi and the CCDC colleagues for their above and beyond support for the Jumping Frames. I wish you all a happy viewing.

On behalf of the Jumping Frames team, we send our heartfelt condolences on the loss of our friend, Mr Aaron Khek, choreographer of Ward 11.

客席策展人的話

Message from the Guest Curator 葉奕蕾 Elysa WENDI

2019 跳格國際舞蹈影像節焦點推介 Portraitures 從舞蹈到電影，透過知名導演、藝術家、演出者、 甚至平凡的普通人， 虛構或寫實， 以傳記和地理

為靈感， 創作出獨一無二的人文景象。這是一趟 超凡藝術之旅，以電影的語言回顧敘事，藉舞蹈 及影像展現，追溯舞蹈及生命的源頭。

今年的「跳格」將以《舞影•混雙》為開幕電影。

作品結集四齣短片， 由城市當代舞蹈團（⾹港）、 西九 文化區管 理 局（⾹港）及 Cinemovement

（新加坡）共同監製。這個協作計劃將⾹港及新加 坡的八位藝術家拉在一起， 兩人一組， 以自傳及

互動，擦出火花，探尋舞蹈與影像的更多可能性。 其中一齣《再見， 遊園驚夢》乃新加坡得獎導演

廖 捷 凱 與資深⾹港舞 蹈家梅卓燕分享的 個人記 憶，重構梅氏三十年間創作及演出的獨舞，勾織 出錯綜複雜的情感與意象。

為紀念翩娜 • 包殊逝世十週年， 我們為觀 眾精 心挑選了比利時導演⾹妲 •艾克曼的《有天翩娜 問》及以色列導演李 • 雅諾的《與翩娜有約》兩

齣紀錄片作對照，揭示這位舞壇天后鮮為人知的 真性情。

今 年， 另一 值得 推介的是澳洲視 覺藝 術家卡露

蓮 •賈西亞的裝置錄 像作品。她的《 原始復刻》 是場獨特的荷里活電影之旅， 收錄了一連串最令

人懷念的經典舞蹈片段， 其中的民族舞尤其令人 難 忘， 加上 以色 鍵 技 術加插 她自己的 演出於其 中，重新建構其文化身份。

Jumping Frames 2019 focuses on “Portraitures”.

Portraitures of the great auteurs, artists, performers and also ordinary characters from Dance to Cinema, fiction or non-fiction – biographical / geographical inspired. A journey looking into the transcendent philosophies, reflections and narratives in the format of film, how dance and life is sourced for both mediums in its manifestations.

This year’s festival will open with the premiere of Hybrid Motion, a collection of four new short films co-produced by City Contemporary Dance Company, West Kowloon Cultural District Authority (both Hong Kong) and Cinemovement (Singapore). The collaborative project between Hong Kong and Singapore brings in eight artists in pairs, encountering each other to look into the possibilities of dance and film based on their autobiographical views and exchanged dialogues. One of the films Till Then, Awakening in a Dream by award winning filmmaker Liao Jiekai and veteran Hong Kong dance artist Mui Cheuk-yin share layers of Mui’s personal journey juxtaposed with intricate meanings behind this celebrated solo work created and danced for the past 30 years.

In memory of the 10 th year passing of Pina Baush, we propose the mirroring of conversations documented

by Chantel Akerman (One Day Pina Asked) and Lee Yanor (Coffee with Pina), diving into the more mundanes perspectives of this acclaimed dance master. Special mentioned for this year’s programme includes the installation video work by Australian visual artist Caroline Garcia. Her Primitive Nostalgia is a unique voyage through Hollywood cinema, featuring some of the most memorable dance numbers ever captured on film. In the assemblage of these cinematic samples, which explicitly record portrayals of cultural dances performed by various ethnic troupes, relating to the construction of cultural identity emerges through her own newly superimposed self performance integrating the green screen approach.

3

臉 Visage 6/9

五 Fri

9:20pm

百老匯電影中心 Broadway Cinematheque

法國 / 台灣 / 比利時 / 荷蘭 FR / TW / BE / NL | 2009 | 141 分鐘 mins | 法語 / 國語 French / Mandarin | 中英字幕 Chinese & English subtitles

一位台灣導演被邀請到羅浮宮， 拍攝聖經故事「莎樂美」。他堅 持邀請心儀已久卻傳聞精神狀況不佳的法國影帝尚皮耶李奧， 演 出劇中輾斷聖施洗約翰頭顱的希律王。這部低成本的製作為顧慮 電影票房，硬著頭皮請來國際名模演出莎樂美。

影片才剛開拍就狀況連連。牡鹿神秘失蹤、 希律王撞斷鼻樑、 莎 樂美和聖施洗約翰在戲外交媾、 羅浮宮內拿破崙廳導演小康在杜

樂利花園的密林激情中，接到母親過世的電話通知，女製片也隨

之飛往台北參加葬禮。陰沉的舊公寓裡， 母親的鬼魂遲遲不肯離 去。所有的工作人員，陷入一個漫長的等待。

電影終於又要繼續拍攝， 戲裡戲外的角色開始模糊， 一群穿著 莎樂美華麗古裝戲服的明星，在羅浮宮滿載藝術靈魂的廳廊、暗 室、古道中穿梭，彼此尋找著每個人心中的莎樂美……

A Taiwanese director makes a film at the Louvre based on the 導演 Director

蔡明亮 TSAI Ming-liang

myth of Salomé. Even though he speaks neither French nor English, he insists on giving the part of King Herod to French actor Jean-Pierre Léaud. To boost its box office ratings, the production company gives the role of Salomé to a world famous model, but problems arise as soon as filming begins...

Amidst all the confusion, the director suddenly learns of his mother’s death. The producer follows him to Taipei to attend the funeral. In the gloomy old apartment, his mother’s spirit appears loathe to leave. All the staff members settle in for a long wait.

The producer has no choice but to wait, alone and lost in a strange city. Finally, the filming resumes with all those who were lost in the underground of the Louvre.

4

舞影˙混雙

Hybrid Motion

香港 / 新加坡 HK / SG | 2019 | 73 分鐘 mins | 華語 Mandarin | 中英字幕 Chinese & English subtitles

6/9

五 Fri

7:30pm

百老匯電影中心 Broadway Cinematheque 映後座談會

post-screening sharing session

城市當代舞蹈團（香港）和西九文化區（香港），連同 Cinemovement

（新加坡）聯合呈獻《舞影 • 混雙》，分別在香港和新加坡兩地各邀請了 四位舞蹈藝術家及電影導演跨界合作，創作出四部舞蹈影像短片。這

些創作內容包含了混合紀錄片、 肖像的揣摩、 浪漫的詮釋， 以至即興

荒誕。這些作品頌讚著表演和視聽藝術的互動， 所能產生的無限可能 性。在這跨領域的呈現中， 短片探討了構作與自發性、 精心策劃與本 能直覺、鏡頭與身體，以及藝術和生活之間的對話。當中參與的藝術

家包括 Russell Morton 、卓翔、葉奕蕾、曾翠珊、廖捷凱、李健偉、 梅卓燕、 郭亞福 與黃天寶。

（紀念親愛的郭亞福）

J o i n t l y p re s e n te d by C i n e m ove m e n t (S i n ga p o re), C i t y Contemporary Dance Company and West Kowloon Cultural District (both Hong Kong), Hybrid Motion is a collection of four creative short dance film encounters between dance artists and filmmakers from the two cities. Comprised of a hybrid documentary, a speculative portrait, an interpretive romance and an improvisational work, the collection is an ode to the creative possibilities of interactions between performing and audiovisual arts. As an interdisciplinary discourse, the shorts

世界首映

World Premiere

《舞影 · 混雙》由 CCDC 、西九文化區及 Cinemovement 共同委約及製作 Hybrid Motion is co-commissioned and co-produced by CCDC, West Kowloon Cultural District and Cinemovement

explore dialogues between construction and spontaneity, calculation and instinct, the camera and the body, and art and life.

Contributing artists include Russell Morton, Cheuk Cheung, Elysa Wendi, Tsang Tsui-shan, Liao Jiekai, Max Lee Kin-wai, Mui Cheuk-yin, Aaron Khek Ah-hock and Ix Wong Thien-pau.

(In Loving Memory of Aaron Khek Ah-hock)

5

舞影˙混雙

Hybrid Motion 再見，遊園驚夢 Till Then, Awakening in a Dream 導演及編舞

Directors & Choreographers

廖捷凱 LIAO Jiekai 新加坡 Singapore

梅卓燕的經典之作──個人獨舞《遊園驚夢》 ， 在過去的數十年間她已表 演過無數次。因此， 她和作品的關係也隨著時間的推移而演變， 逐漸從 年齡和生活歷練的得著來看待故事人物和舞蹈。在《再見，遊園驚夢》中， 舞蹈中各種特殊狀態得以被表演、 拍攝、 交談和教授， 並且透過聲音和 圖像的剪輯來跡查它們之間的關係

梅卓燕 MUI Cheuk-yin 香港 Hong Kong

23 分鐘 mins

華語 Mandarin 中英字幕

Chinese & English subtitles

Mui Cheuk-yin’s dance solo Awakening in a Dream was a defining work of her career that she performed numerous times across three decades.

Mui’s relationship with the work evolved over time as she came to view both the character and the dance from the position of age and lived experience. In this film, multiple incarnations of the dance are performed, filmed, spoken, taught and their relationships examined through sound and image editing.

魚 Fish 導演及編舞

Directors & Choreographers

Russell MORTON 新加坡 Singapore

李健偉 Max LEE Kin-wai 香港 Hong Kong

14 分鐘 mins

中英字幕

Chinese & English subtitles

6

生而為人 何以為家 牢籠相視 互嚥其身

The film experiments with 10 scenarios using the concept of looping and repetition that explores the idea of mortality with fish as the symbolic connection.

一一 Ward 11 導演及編舞

Directors & Choreographers

郭亞福 Aaron KHEK Ah-hock 新加坡 Singapore

黃天寶 Ix WONG Thien-pau 新加坡 Singapore

曾翠珊 TSANG Tsui-shan

孤單的狀態無關於孤獨。 《一一》講述了被禁止的愛和無條件的愛， 在夢 中或在現實， 永遠在一起也永遠分離。在白無暇的床單上， 追踪和捕捉 一對舞伴的影子，舞蹈引領著二人穿越艱險的旅程。 《一一》代表著二人， 在他們愛的國度裡，彼此靜悄悄地聽聲低語，儘管在最枯燥乏味的時刻， 愛的話語、對話和笑聲依舊沒有止息。

Aloneness is not the same as being lonely. Lying beneath the white sheets, the 11 holds the tale of forbidden love, unconditional love, in dreams and in reality, always together forever apart. Tracing and arresting a dance couple’s shadows, encountering the dance, trekking the terrains of their adventures. Lying motionless in 11, the lovers listen, whisper, even at the dullest moments, words of love, conversations continue to flow, laughter fills the ward.

香港 Hong Kong

16 分鐘 mins

華語 Mandarin 中英字幕

Chinese & English subtitles

© 劇照攝影 蕭美芝 photo courtesy of Agnes SIU

一棵樹 Someday I Will Become a Rock

觀察樹的枝幹與根部，你能看到樹的發展歷程，你能看到樹的歷史； 當一棵樹 被移植到另一塊 土地上， 那棵樹將會長出味道不同的果子， 他 / 她將不再是過去的那棵樹。

We see a rock It transcends languages and cultures It traverses time and space Perhaps it has its own nature and memories 導演及編舞

Directors & Choreographers

葉奕蕾 Elysa WENDI

香港 / 新加坡 Hong Kong / Singapore

卓翔 CHEUK Cheung 香港 Hong Kong

19 分鐘 mins

華語 Mandarin 中英字幕

Chinese & English subtitles

7

我身記憶

Memories of My Body

7/9

六 Sat

7:45pm

百老匯電影中心 Broadway Cinematheque 導演 Director

加林．魯格羅

Garin NUGROHO

印尼 ID | 2018 | 105 分鐘 mins | 印尼語及爪哇語 Indonesian / Javanesse | 中英字幕 Chinese & English subtitles

孩提時被公親所拋棄 ， 孤苦伶仃的朱納加入了凌雅舞舞蹈團 ，

學習由男性模仿女性的容貌打扮和動態作演出的爪哇傳統舞蹈。 然而 ， 從舞蹈和身體中逐漸覺醒的潛在慾望和性別身份 ， 伴隨

著印尼的社會和政治氛圍 ， 逼使朱納遷至另一村落。在旅途之 中 ，朱納接收到莫大的愛意和關注 ，從他的舞蹈老師 、奇怪的

阿姨 、 年邁的叔叔 、 俊朗的拳擊手和舞者……但朱納仍然必須 面對自身性向帶來的無盡漩渦。

Juno is just a child when his father abandons him in their village in central Java. All alone, he joins a Lengger Dance Centre where men take on feminine forms and movements.

Juno is forced to move from village to village, driven by the sensuality and sexuality of the dance and the bodies. He is also fleeing from Indonesia’s social and political violence.

Even when his dance teachers, a peculiar aunt, an old uncle, a handsome boxer or a Warok show him attention and love, Juno must still face the looming battlefield of his emerging body alone.

8

導演 Director

丹尼爾．史密特 Daniel SCHMID

寫伎書顔

The Written Face

瑞士 / 日本 CH / JP | 1995 | 89 分鐘 mins | 英語 / 日語 English / Japanese | 中英字幕 Chinese & English subtitles

7/9

六 Sat

6:00pm

百老匯電影中心 Broadway Cinematheque

《寫伎書顔》透過四個連續的故事，呈現了日本著名歌舞伎坂東玉 三郎的豐富面貌。起首以坂東玉三郎表演日本遠古神話： 《醉蛇之

舞》掀起序幕、接著在《坂東玉三郎和他的偶像們》的部份中記錄 了他與藝妓舞蹈家武原はん、 女演員杉村春子， 以及舞踏大師大 野一雄的交談時刻。隨後是一齣以藝妓為主題的輕快變奏曲《藝 妓的曛旭》， 最後以阪東玉三郎的歌舞伎表演《鷺娘》作完滿的結 尾，記敘了在漫天風雪的隆冬時節裡女孩蛻變與重生的故事。

The film is an attempt to offer an insight into the Ja pa n e s e K a b uk i s t a r, Ta ma s ab uro B a ndo. The film consists of four continuous acts: A prelude, t h e d a n c e o f t h e d r u n ke n s n a ke, Orochi , f ro m Japan's oldest myth, is followed by a documentary s e c t i o n , Ta m a s a b u ro B a n d o a n d h i s i d o l s . I t includes encounters with Han Takehara, geisha and dancer, Haruko Sugimura, film actress (Ozu, Naruse, Kurosawa), and Butoh dancer, Kazuo Ohno. The next act, Twilight Geisha , is a light-hearted variation on the geisha theme. In the fourth and final section, Tamasaburo dances the Kabuki drama Sagimusume, a story of reincarnation and of a girl's transformation on a snowy winter's night.

Schmid's impassionate tribute to Kabuki theatre and their great stars.

香港首映

Hong Kong Premiere

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翩翩人生波麗娜

Polina

法國 FR | 2016 | 109 分鐘 mins | 法語及俄語 French / Russian | 中英字幕 Chinese & English subtitles

7/9

六 Sat

9:45pm

百老匯電影中心 Broadway Cinematheque

俄羅斯少女波麗娜 ( 俄羅斯著名芭蕾舞者安娜絲塔西亞．史芙素 娃 飾 ) 自小接受嚴格的古典芭蕾舞訓練，終於以天才舞蹈員姿態

考進國際一流的莫斯科芭蕾舞團；但就在這時， 她首次被迷人的

現代舞深深吸引著。波麗娜在兩者之間掙扎， 毅然決定放下過去 的所有， 遠赴法國跟隨著名編舞家莉維亞．艾莎芝 ( 康城影后茱 麗葉．庇洛仙飾 ) 學習當代舞；雖然她醉心練習， 幾近瘋狂， 卻

無法突破自己。迷惘和失意的波麗娜， 如何在他鄉和戀人身上重 拾澎湃情感，並從舞蹈中再次翩翩跳出精彩人生？

導演 Directors

Trained from an early age by rigorous, perfectionist Professor

Valérie MÜLLER

to join the prestigious Bolchoï Ballet when she discovers

維拉莉．梅拿

安祖蓮．柏歷祖加 Angelin PRELJOCAJ

Bojinski, Polina is a promising classic dancer. She is just about contemporary dance. That throws everything into question on a profound level. Polina leaves it all behind and moves to France to work with famous choreographer Liria Elsaj. Despite her determination and hard work to the point of obsession, Polina just can't seem to break through. So she moves to Anvers in search of work - and a new life.

威尼斯影展「威尼斯日」單元參賽作品 Giornate DegliAutori VeniceDays

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亞洲舞林短打

Asian Dance Shorts

8/9 6pm

日 Sun

百老匯電影中心 Broadway Cinematheque

映後座談會

post-screening sharing session

美味瑪莉亞 Nagimaskan Mayyang

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世界首映

World Premiere

許多人都不知道，菲律賓的城市和農村同樣面臨犯罪事件數 目急速增長的狀況。這些案件大多數來自窮人或貧困家庭， 一旦他們建立屬於自己的家庭組織時，其中一方就有機會因 為貧窮或因而引起的併發問題，而對他們的親密伴侶作出虐 待，暴力甚至性虐待。 導演 Director

約翰卡洛．諾華 John Carlo NOVA 菲律賓 Philippines | 2019 | 8 分鐘 mins | 英文歌詞字幕 English Lyrics subtitles

Not known to many, not only in urban areas but also in several rural communities in the Philippines the number of incident is fast growing, mostly that belong to the poor or indigent families; once entered marriage, civil union or domestic relationship, one can experience maltreatment, violence and even sexual abuse by their intimate partner as the effects of problems or complications encountered due to poverty.

實驗性短片把當代戲劇藝術的創作過程融合在電影製作之 中。電影劇本運用了荒誕戲劇的概念， 描繪了一群獄卒荒 謬地被當局指派去無限期看守一座早已廢棄的古老監獄。 在此當中， 這群獄卒將如何自處？而現實生活中只知道服 從的主角「老闆」又會如何面對要守衛空洞的無稽局面？受 國家教育後的三名新兵在經過不懈的戰鬥， 競爭和陰謀以 後， 踏上了不同的征程， 在未來等待他們的又是怎樣的命 運？其中一名逃兵意識到所面臨的荒謬， 然而他的逃脫動 搖了其餘獄卒的世界：他們是否應該屈服於強大的力量，永世地守衛著空 曠的牢房，還是應該追求屬於他們的自由？若果創造理想的王國「人類王 國」 ，需要我們犧牲自己的自由意志。這是正確的嗎？問題依舊存在。 An experimental short integrated the creative process of contemporary theatre art in filmmaking. Exercising the concept of the theatre of absurd, the screenplay depicts a group of jailers who are ridiculously assigned by the authority to endlessly guard an long abandoned ancient prison – how would the jailers live their lives? How would the protagonist ‘boss’ who only knows obedience in his life face the absurd situation of guarding the empty cells? Three new recruits, educated together by the country, embarked on different journeys after relentless fighting, competition, and conspiracy. What would be their upcoming fate? A deserter realizes the absurdity of such situation - his escape has shaken the worlds of the remaining jailers: should they succumb to the powerful and guard the empty cells or should they pursue their freedom? - if the creation of the ideal kingdom, 'the Kingdom of Men, need us to sacrifice our free will, is that the right thing to do? The question remains.

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人人之國 The Kingdom of Men 導演 Director

岑軍諺 Anson SHAM Kwan-yin 香港 Hong Kong | 2018 | 23 分鐘 mins | 粵語 Cantonese | 中英字幕 Chinese &

English subtitles

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亞洲舞林短打

Asian Dance Shorts

3

絕龕 Shrine of Our Despair

導演 Director

方曉丹 Dan FONG

迷失是神聖，衪指引發現自我之路 ; 痛苦是神聖，令人深刻理解無常 ; 絕望是神聖，能提煉智慧 ; 旋轉吧 ! 看看絕望漩渦深淵內最真實的自己。

香港 Hong Kong | 2018 | 5 分鐘 mins

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Lost is sacred; it leads you to the path of self-realization.

Painfulness is sacred; it enhances our understanding towards the impermanence of life.

Despair is sacred; it’s the refinement of wisdom.

Let’s turn & turn, and look into your true self inside the deepest swirl of despair.

一舞念任航 A Dance for Ren Hang 導演 Director

雷遠彬 LOOI Wan-ping 新加坡 Singapore | 2018 | 9 分鐘 mins

三名舞者重新詮繹了一名中國攝影師的最佳攝影作品，任航──聞名於令 人震驚的禁忌照片的不凡攝影師。 這部短片是與舞蹈藝術家和編舞 Sara Tan 合作，把任航所拍攝的肖像照 片重新演繹成動態影像。同時， 透過與日記條目「我的抑鬱」並置， 描繪 了他孤獨和焦慮的脆弱性， 是一種對這位神秘卻極具挑釁的真正藝術家 的敬意。

Three dancers reenact the best photographs by brilliant Chinese photographer Ren Hang, who was well known for his shocking photographs bordering on taboo.

The short film is a collaboration with dance artist and choreographer Sara Tan, re-interpreting the iconographic photographs of Chinese photographer Ren Hang into the moving image. It is in juxtaposition with diary entries, "My Depression", depicting the fragility of his isolation and anxieties. It is a tribute to the artist who was an enigma, a provocateur and true artist of his generation.

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風情•刻 Pung Jeong Gak A Town with A Blue Hill

在風情 •刻系列的第八部舞蹈電影中， 呈現了靑坡洞或「藍山」附近的 景觀。佇立於山上，就能夠縱觀到首爾站的全貌－出發於首爾或到達至 首爾。 8 th dance film in Poong Jung.Gak (風情•刻) series presents a landscape of Cheongpa(靑坡)-dong, or "blue hill" neighborhood. Located on the hill from which one could get an en tir e v ie w o f S eoul S t ation-the des tination and the depar ture point of the City of Seoul.

導演 Director

宋周垣 SONG Joo-won 韓國 Korea | 2018 | 15 分鐘 mins

徊 Wandering 導演 Director

徐智彥 CHUI Chi-yin

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澳門 / 香港 Macau / Hong Kong | 2018 | 7 分鐘 mins

慢慢，開始不確定是人需要這個城市， 還是城市需要人。 在當中猶豫、躊躇，又剎有介事地離開 又無處可去，無處可歸。

Gradually, the question begins if the people needs the city or the city needs the people.

In the mids t o f uncer t aint y, there is no place to return to.

世界首映

World Premiere

7

導演 Director

李思颺 Justyne LI 香港 Hong Kong | 2019 | 12 分鐘 mins

其實落雨又有乜好怕喎 Come Rain or Shine 在是非黑白癲倒的社會， 螻蟻已不介意自己是螻蟻。陽光 已非必然， 反而雨水或許會使頭腦及身體更清醒。到了一 個地步， 螻蟻漸漸習慣被虐待， 因為雨及雪反而令螻蟻 變得更有生命力。會死嗎 ? 可能會 … 但至少牠帶着勇氣

及智慧走過這段路。

In a societ y of ex treme distor tion, people lives like ants and they actually don't mind about it. Sunlight may not be inevitable, and in fact the rain may bring more clarity to the mind and body. The ant is getting more used to being abused, actually enjoying it, because rain and snow brings more vitality to them. Will it die? Maybe...but at least it walked through the path with courage and wisdom. 《其實落雨又有乜好怕喎》 由西九文化區及 CCDC 共同委約 Come Rain or Shine is

co-commissioned by West Kowloon Cultural District and CCDC

世界首映

World Premiere

13

創世紀

Russian Ark

俄羅斯 RU | 2002 | 99 分鐘 mins | 俄語 / 波斯語 Russian / Persian | 中英字幕 Chinese & English subtitles

8/9

日 Sun

7:50pm

百老匯電影中心 Broadway Cinematheque

2K 修復 2K restored

導演 Director

亞歷山大．蘇古諾夫 Aleksandr SOKUROV

身邊的每個人都無法看見他。一位當代電影製作人神奇地發現自 己正身處於聖彼得堡的冬宮，他回到了十八世紀初！及後，他碰上 了一位來自十九世紀憤世嫉俗的法國外交官， 在異於尋常的時間 之旅中， 他們成為了俄羅斯動盪過去的幫兇──而動亂正正結束 在今天！

正當侯爵和電影製片人探索著宮殿裡壯麗走廊和客廳， 他們親眼

見證到沙皇帝國令人驚訝的場景：彼得大帝鞭打他的將軍、 凱瑟 琳大帝在排練自己的戲劇時， 竟然四處尋找休憩之處、 在沙皇皇

室最後晚會上， 眾人對即將到來的革命渾然不覺。瓦列裡•格吉

耶夫指標著數百名舞者在 1913 年的最後一場皇家舞會上跳著華 爾茲。

然而他們的時間旅行是在單一而未刪節的的電影鏡頭中展開， 導

致這兩人不禁陷入了一場熾熱又嘲諷的爭論中。侯爵顯然與俄國 有著西方的愛恨交織關係， 同時現代電影人質疑他的國家在過去

與今天的歐洲之間有著令人不安的聯繫。二人互相捉弄著對方並 分享著在每幀景色裡所碰上的驚世駭目之事。

冬宮是俄羅斯的方舟， 深情地守護著藝術和歷史， 直到世界看到 更美好的日子。

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Invisible to everyone around him, a contemporary filmmaker magically finds himself in the Hermitage in St Petersburg back in the early 1700s! He meets a cynical French diplomat from the 19 th Centur y; the men become accomplices in an extraordinary time - travelling journey through Russia’s turbulent past - ending in the present day.

Exploring the splendid corridors and salons of the Palace, the Marquis and the filmmaker witness astonishing scenes from the Tsarist Empire: Peter the Great thrashes his general with a whip; during rehearsals of her own play, Catherine the Great rushes around looking for a place to relieve herself; the family of the last Tsar dine together, quite oblivious to the impending revolution. And hundreds of dancers waltz at the last Great Royal Ball of 1913 with Valery Gergiev conducting.

As their time-voyage unfolds in a single, uncut Steadicam shot, the two men engage in a passionate and ironic dispute.

The Marquis clearly has a Western love-hate relationship with Russia, whereas the modern filmmaker questions his country's uneasy connection to its past and to Europe today.

The two tease each other, and share their amazement at the scenes they encounter.

The Hermitage is the Russian Ark, affectionately guarding art and history until the world sees better days.

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夢女芭蕾

Girl

比利時 / 荷蘭 BE / NL | 2018 | 105 分鐘 mins | 法語、佛萊明語 French / Flemish | 中英字幕 Chinese & English subtitles

8/9

日 Sun

9:40pm

百老匯電影中心 Broadway Cinematheque

導演 Director

魯卡斯當 Lukas DHONT

©Menuet

90 後新銳導演魯卡斯當憑首部長片夢女芭蕾入選康城影展一鳴

驚人之作，一舉拿下 「同志棕櫚獎」 （Queer Palm）、金攝影機獎、

「一種關注」單元費比西國際影評人獎及最佳演員殊榮，更代表比

利時競逐奧斯卡最佳外語片。根據撼動人心事蹟改編：15 歲少女

拉娜夢想成為一個芭蕾舞蹈員，在父親的鼓勵下，她成功「超齡」 考入全國最好的芭蕾舞學校。具有天份的她努力追回落後的進度， 很快便得到老師的認同。可惜好景不常， 踏入青春期， 拉娜漸漸

發覺自己的身體是她圓夢的障礙， 因為她是一個錯配在男性軀體 中的女生……

Determined 15-year-old Lara is committed to becoming a professional ballerina. With the support of her father, she throws herself into this quest for the absolute at a new school.

Lara’s adolescent frustrations and impatience are heightened as she realizes her body does not bend so easily to the strict discipline because she was born a boy.

©Kris Dewitte

「一種關注」單元費比西國際影評人獎及最佳演員 金攝影機獎 同志棕櫚獎 The 71 st Festival de Cannes: FIPRESCI Prize for Best Performance Un Certain Regard Caméra d'Or Queer Palm 16

相／人／再起舞

Look Two Ways Revisited

香港 HK | 2019 | 50 分鐘 mins | 部份粵語 / 普通話 Partially Cantonese / Putonghua | 中英字幕 Chinese & English subtitles

7/9

六 Sat

《相／人／再起舞》源於曾翠珊、曹德寶、葉奕蕾、丘智華及岩井

2:30pm

大館賽馬會 立方綜藝館 JC Cube Auditorium, Tai Kwun 映後座談會

post-screening sharing session

Remu 2017 年製作的《相／人／舞》雙頻道錄像裝置。五位舞蹈

影像導演回應澳洲編舞及舞蹈影像導演蘇・希利所提出的「人像概 念」 ，各自拍攝多位當代香港舞蹈藝術家的錄像，組成十幀流動人 像。《相／人／再起舞》是《相／人／舞》的延續，導演重新剪輯影 像，以嶄新角度呈現今天香港舞蹈藝術家的面貌和心法。

蘇・希利在 2017 年提出有關「人像概念」的課題：

人像能夠表達難以言傳同時極具力量的身份概念， 為觀察與被觀 察雙方建立深厚聯繫。人像的本質涉及看見與被看見， 要求我們

對他人深入分析、 為自身揭示不同意念， 以及尋找與身處世界的

種種關係。作品中透過香港獨有的景觀及歷史為本， 創作兩段人 像短片，以動作語言來探討身份概念。

Look Two Ways Revisited is (re)created from the two-channel installation work Look Two Ways (2017). The original work – comprising ten moving-image portraits by five filmmakers,

世界首映

World Premiere

Tsang Tsui-shan, Hugh Cho, Elysa Wendi, Chiu Chih-hua and Remu Iwai, who each created two portraits of contemporary dance artists in Hong Kong – explored the idea of portraiture in response to a provocation by Australian choreographer/ filmmaker Sue Healey. Look Two Ways Revisited is a new cut of the original films and offers a fresh look at the backgrounds and philosophies of the same group of dance artists from the perspective of Hong Kong today.

Sue’s provocation to the filmmakers in 2017: Portraits can reveal unspoken and powerful ideas about identity – creating deep connections between the observer and the observed. A portrait fundamentally involves the act of seeing and being seen. It requires a deep analysis of a person, revealing layers of ideas about the self, and our relationship to the world we live in. Using the unique landscape and history of Hong Kong, create two short portraits that use movement as the language to portray identity.

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《相 / 人 / 再起舞》由西九文化區委約 Look Two Ways Revisited is

commissioned by West Kowloon Cultural District

無名路 On the ___ home 導演 Director

丘智華 CHIU Chih-hua 台灣 Taiwan

合作藝術家 Featuring Artists

林薇薇 LIM Wei-wei

記憶與身體作為生命的載體，徜徉在浩蕩無涯的大霧中。 如果城市作為一個中介， 身處不同境遇的人， 在無名的路上， 可否找到 屬於自己安身之所？

蔡穎 CAI Ying 6 分鐘 mins

Memory and the body, the carriers of life, wandering in the vast and mighty endless fog.

If the city is an intermediary, can people in different circumstances find shelter on the unnamed road?

遇 Encounter 導演 Director

曾翠珊 TSANG Tsui-shan 香港 Hong Kong

合作藝術家 Featuring Artists

梅卓燕 MUI Cheuk-yin 劉素琴 LAU So-kam 粵語 / 普通話

Cantonese / Putonghua 6 分鐘 mins

『遇』嘗試探索兩代舞者與香港之間的故事， 請來梅卓燕與她於香港的第 一位老師劉素琴女士一起舞動。同是華僑的兩位舞者分別來自印尼與緬 甸， 梅媽媽來自印尼到中國， 劉老師來自緬甸到中國， 其後她們都來到 香港， 舞蹈把二人連結。動與靜之間觀照彼此。兩女性的肌膚說著她們 的故事， 時間的流動， 舞動的身軀交換著師徒之情， 亦帶著異鄉人之間 的互相慰問。

Exploring the story of two generations of dancers and their experience of Hong Kong, Encounter is a dance dialogue between Mui Cheuk-yin and Lau So-kam, her first teacher after her arrival in the city. Both overseas Chinese – Mui is originally from Indonesia and Lau from Myanmar – they connected through dance. Getting to know each other through movement and stillness, through the body and over the course of time, they found mutual support and consolation.

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如人上山

Jyu4 Jan4 Soeng5 Saan1 導演 Director

曹德寶 Hugh CHO

香港 Hong Kong

合作藝術家 Featuring Artists

何志成 Hochi

施卓然 Kenneth SZE

伍仲偉 Steve NG

杜志星 TO Chi-sing

7 分鐘 mins

「山」 ，就是五蘊山，色、受、想、行、識，我們的自我。 上山即自我修行，各自努力，尋找自由之路。 雞飛狗跳之際，當如兄弟爬山，各自努力，以求決了。

The mountain embodies the five aggregates: form, feeling, perception, volitional action and consciousness. The mountain embodies the ego.

People climb mountains seeking self-cultivation and a path to freedom.

When they are forced to climb in panic, they find their own strength.

記憶中混濁的霧是 我的畫像 Stay If You Can / Go If You Must 導演 Director

葉奕蕾 Elysa WENDI

香港 / 新加坡 Hong Kong / Singapore

合作藝術家 Featuring Artists

朱秀文 Virginia CHU Sau-man

對我來說， 「人像」是如何記著某個人的本質。 又或者是一個記憶的凍結，當她的靈魂和思維在某個時空相遇後。 記憶總是感性的，卻有欺騙的可能。對其存在和觀點抱有疑問的時候， 我希望借助水的不同形態去捕捉兩位香港舞蹈藝術家： 一位處於寒冷的冰封狀態，另一位在煙霧彌漫的混亂中。 同樣都是一閃即逝。

For me, a portrait is the essence of how we are remembered.

A memory frozen at the point when soul and thought converge in time and space.

Memories can be sentimental and deceptive.

Questioning existence and perspectives, I hope to capture two Hong Kong dance artists in different states of water.

One in the frozen state of ice, the other in the diffuse state of vapour.

Both states impermanent.

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郭曉靈 Elaine KWOK Hiu-ling 12 分鐘 mins

相／人／再起舞

Look Two Ways Revisited

島與巷 Isle / Alley 導演 Director

岩井 REMU REMU IWAI 香港 Hong Kong

合作藝術家 Featuring Artists

梁儉豐《巷》 Alley Kenny LEUNG 楊浩《島》 Isle YANG Hao 15 分鐘 mins

我們似是身處窄巷 也像永生續活在無人的島嶼 擠壓 在城市的邊緣被擠壓 放逐 在時間的盡頭自我放逐 詩人和夢 被囚禁的旅人和聲音 舞舞舞吧！ 兩種時刻 兩面世界 窺視生存的一個瞬間或永恆

It seems like we’re in a narrow alley Or like we’re the last creature in an uninhabited isle Extrusion Being pushed at the edge of our city Exile Getting into self-imposed exile at the end of time Poets and dreams Imprisoned travellers and voices Dance Dance Dance!

Here and now Two of the different worlds Peeking at their eternity or glimpse of life

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冇照跳

Dance Goes On 香港 HK | 2017 | 81 分鐘 mins | 粵語 / 普通話 Cantonese / Putonghua | 中英字幕 Chinese & English subtitles

7/9

六 Sat

2:30pm

大館賽馬會 立方綜藝館 JC Cube Auditorium, Tai Kwun 導演 Director

又一山人 anothermountainman (Stanley WONG) 編舞 / 主角

Choreographers / Starring

梅卓燕 MUI Cheuk-yin 伍宇烈 Yuri NG

邢亮 XING Liang

《冇照跳》由香港著名視覺創作人又一山人（黃炳培）連結三位同 是香港資深舞蹈家的好友：伍宇烈、 梅卓燕及邢亮， 透過互動來

創作對話，帶出三個把半生投進舞蹈的香港人對舞蹈藝術、生活 的地方、身邊的人和物所產生的感悟。

由又一山人構思「冇照跳」這題目框架，在電影中三位主角以即興 舞動及互動對話，分別展開對人、物、空間的解構：

生於香港， 曾在加拿大國家芭蕾舞團出任舞者， 及後回來香港

發展編舞事業的伍宇烈， 分別找來三位特殊的朋友和親人跟他合 作， 在過程中用舞蹈重新連結三段關係；生於廣州， 在香港成長

的梅卓燕走進導演安排急速變遷的城市角落中起舞，對當下我城 有感而發；在北京出生， 在香港發展的邢亮探索表演者與觀眾之

間「看與被看」的關係，在沒有俗世約束下起舞，從而思考人在現 實環境下如何影響思維空間， 再反思自身如何站在別人的角度看 世界。

三人的背景和創作方向與又一山人不大相同， 但四人對生命和對 香港的熱情和愛護，以及面對人生下半場的感受，透過真誠的即

時紀錄表露無遺， 期盼這城能如昔以豁達包容， 正面態度往前 走，往前舞動。

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Dance Goe s On is a documentar y directed by ar tis t anothermountainman (Stanley Wong), featuring three renowned Hong Kong-based choreographers – Yuri Ng, Mui Cheuk-yin and Xing Liang. The film brings out the choreographers’ thoughts and feelings on dance, art, their living space as well as the people and things around them through creative, improvised exchanges.

Responding to anothermountainman’s theme “Dance Goes On”, the choreographers improvise dance and dialogues, expressing and deconstructing “human, objects and space”.

Born in Hong Kong, Yuri Ng was a dancer at the Canada National Ballet and began choreography after his return to Hong Kong. In the film, he invited three special friends and family to dance with him, reconnecting three different relationships in the process. Mui Cheuk-yin was born in Guangzhou and grew up in Hong Kong. She dances at a location specified by anothermountainman – corners of our rapidly changing city to express and capture the emotion of Hong Kong in this moment. Xing Liang was born in Beijing and developed his career in Hong Kong. He explores the relationship of “seeing and being seen” between performers and audiences. Without any limitations he dances and thinks about how our minds are affected by the reality as well as reflects on how to see the world from another’s perspective.

The backgrounds and creative directions of three choreographers differ from anothermountainman, but together, the four of them share a common passion and love for Hong Kong as they face the second half of their lives, hoping the city will continue to be open and inclusive, to move on, to let the dance goes on.

25

瑪姬瑪漢《緊急行動》

9/9

Maguy Marin — The Urgency to Act

一 Mon

7:30pm

法國 FR | 2019 | 108 分鐘 mins | 法語 French | 中英字幕 Chinese & English subtitles 導演 Director

大衛．曼布馳 David MAMBOUCH

亞洲首映

Asia Premiere

她， 不斷又不斷的掘開自己的內心深處， 卻打亂了人們生活的軌

跡。在過去的三十五年間， 瑪姬瑪漢成為國際舞台上不可缺少而

又舉足輕重的存在。作為西班牙移民的女兒， 她交錯著歡悅和惱 怒並衝擊眼前的野蠻粗俗。她的職業和政治立場驅使了她一身是 膽、 無畏無懼的戰鬥精神。時至今日， 她再踏前一步， 向世人傳 遞以對孩子的關懷優先的訊息。一九八一年她的旗艦秀 May B

打破了我們對舞蹈的所有想法， 而這場爆炸迴聲所引起的共鳴久

久沒有停止。舞蹈家瑪姬瑪漢的一生是一場巨大的身心靈運動， She is one of those artists who dig deep and lasting furrows, which upset the lives. For over 35 years, Maguy Marin has established itself as a major and essential choreographer on the world stage. Daughter of Spanish immigrants, her work is a joyful and furious punch in the face of barbarism. Her career and her political positions lead to daring, courage, combat. Today more than ever, she calls for the priority to care for children, to transmit. In 1981, her flagship show, May B disrupts everything we thought of dancing, an explosion whose echoes have not ceased to resonate. The journey of the choreographer Maguy Marin a vast movement of bodies and hearts, an adventure of our time, immortalised and transmitted in turn by the image of cinema. An object mixing grace and anger, art and politics, all with the emblematic piece May B.

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是我們這個時代的冒險， 依次 地被電影的形象傳播， 永存不 朽。May B， 一個混合恩典和

憤怒、 藝術和政治並具有強烈 象徵性的作品。

導演 Directors

奧利維亞．羅歇特 Olivia ROCHETTE

傑拉德．揚．克拉斯 Gerard-Jan CLAES

《在當中》接著在演出作品《死亡與生命同在》最後幾週的排練之 後， 由安娜•杜麗莎•姬爾斯美嘉、 她的同伴羅沙斯和大提琴

手尚 - 古伊漢．奎拉斯根據巴哈的六個無伴奏大提琴組曲演出。

這部電影讓我們更深入地了解了姬爾斯美嘉細緻的方法論， 即通

過仔細研究音樂的構造， 從而建立舞蹈設計的世界。這一種不斷

重塑和磨練的激烈創作過程，以姬爾斯美嘉對精確度和細節無窮 無盡的渴望為特徵，反映出電影製作有耐心地審視編舞、音樂家 和舞者的作品。

Mitten follows the final weeks of rehearsal of Mitten wir im Leben sind, a performance by Anne Teresa De Keersmaeker, her company Rosas and cellist Jean-Guihen Queyras, based on the six cello suites by Johann Sebastian Bach. The film offers an intimate glance into De Keersmaeker’s meticulous methodology, in which a choreographic universe is built up

大館賽馬會 立方綜藝館 JC Cube Auditorium, Tai Kwun

映後座談會

post-screening sharing session

through a careful study of musical composition. This intense creative process of continuously reshaping and honing, characterised by De Keersmaeker’s inexhaustible longing for precision and detail, is reflected in the filmmakers’ patient look at the work of the choreographer, the musician and dancers.

姬爾斯美嘉《在當中》 Mitten about Anne Teresa De Keersmaeker

比利時及法國 BE / FR | 2019 | 53 分鐘 mins | 英語、法語及荷蘭語 English / French / Dutch | 中英字幕 Chinese & English subtitles

亞洲首映

Asia Premiere

27

身體年輪 @ 銀青乒乓

Body in Time@GGPPP

香港 HK | 2018 | 24 分鐘 minsv | 粵語 Cantonese | 中英字幕 Chinese & English subtitles

10/9 7:30pm

二 Tue

導演 Director

俞若玫 Cally YU

大館賽馬會立方綜藝館 JC Cube Auditorium, Tai Kwun

映後座談會

post-screening sharing session

《身體年輪》是「舞蹈身視野」計劃中其中一個研習篇章。研習伙 伴為本地獨立創作人俞若玫，及其成立的「銀青乒乓」團隊。一

眾長者與不加鎖舞踊館藝術總監王榮祿歷時半年，共同發展及演 出舞蹈作品《身體年輪》。在導演俞若玫和拍攝人員李偉盛及葉

奕蕾的鏡頭下，此紀錄片完整呈現長者與藝術家相處交流的研習 過程，建構出獨特的銀髮舞蹈美學。 Body in Time is one of the chapter of "Unlock．Body Dance

Vision". The collaborative partners are local independent

creator Cally Yu, and the team behind The Green and Green

Ping Pong Project was founded by Cally Yu. A group of

elderlies jointly develop and perform the dance piece Body In

Time with Unlock's artistic director Ong Yong Lock within half

a year. Through the lens of director, Cally and videographers, Shing Lee as well as Elysa Wendi, not only this documentary shows the whole research process but also reveals the aesthetics of elderlies' bodies.

「舞蹈身視野」獲香港特別 行政區政府「藝能發展資 助計劃」的資助

Unlock Body · Dance Vision is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region

©Unlock Dancing Plaza 節目內容並不反映香港特別行政區政府的意見 The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region

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最美一幕

Third Act

比利時 BE | 2019 | 79 分鐘 mins | 法語、荷蘭語、英語、葡萄牙語、日語及希臘語 French / Dutch / English / Portuguese / Japanese / Greek | 中英字幕 Chinese & English subtitles

10/9 7:30pm

二 Tue

大館賽馬會 立方綜藝館 JC Cube Auditorium, Tai Kwun 亞洲首映

Asia Premiere

導演 Directors

洛特．斯圖史 Lotte STOOPS

米克．斯特鲁伊夫 Mieke STRUYVE

《最美一幕》是一部由長青演員和當地老人去講述老齡化， 關心

和被照顧的電影， 並與國際知名的舞蹈劇院公司偷窺者舞團合 作。人生是一個舞台，但當帷幕即將落下時會發生什麼呢？

這部紀錄片講述了一個文化兼收並蓄的戲劇家庭與三部曲《父親、 母親和孩子》一起環遊世界。三部曲的主題：老齡化和家庭， 正 正觸及到每個人的生活， 甚至關乎演員本身。在電影中， 昇華的 戲劇故事與敏感的個人貢獻交織相連。

主演李奧與公司員工一同慶祝他八十歲生日。積極進取， 富有創

造力並與年輕人相處， 令李奧得以保持年輕。但作為一名父親， 在現實生活之中李奧的妻子卻是一個被他的兒子遺棄在療養院的 老人。她已沒有自理能力， 因而選擇住在比利時的療養院。李奧

必須作出選擇─ ─繼續當一個活躍的老年人還是放緩腳步並照 顧他的妻子？

在國際巡演的每一站， 偷窺者舞團都會邀請當地的老年人作為臨 時演員演出。這些被事先尋找的臨時演員會在踏上舞台之前接受 表演速成課程， 往往這都是他們人生中第一次踏上舞台。他們的

個人歷練提供了對其國家老齡化的見解， 並與偷窺者舞團在舞台 上為這些內容進行對話。他們將會如何應對自己的衰老？

《最美一幕》的主題觸動著每個人的生活，讓你思考：你想如何變 老？如果有必要， 誰會照顧你？在你生命的最後一幕中， 你又會 做了什麼？

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Third Act is a film about ageing, about caring and being cared for, told from the perspective of aging actors and local senior citizens, performing with the internationally renowned dance-theater company Peeping Tom. Life is a stage, but what happens when the curtain is about to fall?

This documentary follows the culturally eclectic theatrical family on tour around the world with the trilogy Father, Mother and Child. The theme of this trilogy, ageing and family, touches everybody's lives, including those of the actors themselves. In the film sublimated theatrical stories are woven together with sensitive personal contributions.

Main actor Leo celebrates his 80 th birthday on tour with the company. Being active, being creative and surrounding himself with young people keeps him young. But while playing the role of Father – an old man abandoned in a nursing home by his son – Leo’s wife, in real life, is no longer able to take care of herself, and stays in a nursing home in Belgium. Will Leo have to choose between an active old age or looking after his wife and slowing down himself?

At each stop on the international tour, Peeping Tom works with local senior citizens as extras. These extras have been sought out beforehand and receive a crash-course in acting before they step onto the stage, often for the first time in their lives. Their personal lives provide an insight into ageing in their countries and create a dialogue with what Peeping Tom presents on stage. How do they deal with their own ageing?

The theme of Third Act touches everybody's lives and makes you think: how do you want do grow old? Who will take care of you, if necessary? What do you do in the third and last act of your life?

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有天翩娜問

One Day Pina Asked

美國 US | 1988 | 57 分鐘 mins | 法語 / 英語 French / English | 中英字幕 Chinese & English subtitles

11/9

7:30pm

三 Wed

大館賽馬會 立方綜藝館 JC Cube Auditorium, Tai Kwun 映後座談會

post-screening sharing session

導演 Director

香妲．艾克曼 Chantal AKERMAN

《有天翩娜問》─ 二十世紀兩位才華超卓的女藝術家的相遇， 從

香妲•艾克曼的視角感觸記錄了翩娜•包殊與她的烏帕塔舞蹈劇

場在巡視期間排練和表演過程。在影片之始， 旁白便述說了： 「這

是一部超越純粹對翩娜•包殊的記錄片，是看透她的世界和她堅 定不移地追尋愛情的旅程」

翩娜•包殊於 2009 年病逝，她作為現代舞蹈中最重要的人物之

一， 同時亦是德國獨特風格的舞蹈劇場的先驅。她引人注目的舞

蹈和精心設計的舞台表演， 通過動作、 獨白和敘事元素的混合， 利用往往是一觸即發的痛苦情緒， 探索了個人記憶和男女之間的 關係，以及其他事情。

在為期五週的歐洲巡演中， 艾克曼拍攝了舞蹈團的彩排和表演， 帶領觀眾投入到他們的過程之中。艾克曼也採訪了舞者， 他們指

出翩娜選人的標準不僅看重成員的才能， 即使是無形的個人品質

亦尤其重視。舞者們描述了各種舞蹈的發展， 以及翩娜啟發他們 提供表演中經常要求的自傳體的細節。

影片中亦以艾克曼獨特的視覺角度向觀眾展示了翩娜的舞蹈表演， 、 《康乃馨》 （1982） 、 《華爾茲》 （1982） 包括《與我共舞》 （1997） 。 以及 1980（1980）

艾克曼說道 :「數年前我第一次看到翩娜表演的時候，有一種現今

仍無以名狀的情感貫注我的身體」而電影《有天翩娜問》正是希望 透過翩娜的世界去嘗試定義這種情感。

「艾克曼的電影是一部謙虛大膽有關 於探索和靈感的作品。憑藉她大膽的 作品、決定性的剪裁、令人簌簌發抖 的時間感以及她簡潔明了地表明了創 作時刻的興奮， 這點與文德斯的電 影不同。艾克曼的電影與翩娜的舞蹈 緊緊相連」─《紐約客》 「太精彩了！艾克曼的《有天翩娜問》 達到了感官和情感的新水平。她的兩 個風格特徵， 長鏡的拍攝和嚴謹的 構圖，鼓勵了我們反思舞者的身體是 如何建構翩娜的思想」─《芝加哥讀 者報》

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An encounter between two of the most remarkable women ar tists of the 2 0 t h c e ntur y, One Day Pina Asked ... i s Chantal Akerman's look at the work of choreographer Pina Bausch and her Wupper tal, Germany-based dance c o m p a n y. " T h i s f i l m i s m o r e t h a n a d o c u m e n t a r y o n P i n a B a u s c h ," a narrator announces at the outset, "it is a journey through her world, through her unwavering quest for love."

Bausch, who died in 2009, was one of the most significant figures of modern dance, and the pioneer of a unique style drawn from the German theatrical dance tradition known as tanztheater. Her striking dances and elaborate stagings explored personal memor y and the relationships between men and women, among other things, through a mixture of movement, monologue and narrative elements that drew upon explosive, often painful emotions.

C a p t u r i n g t h e c o m p a ny ' s r e h e a r s a l s a n d p e r f o r m a n c e s over a five -week European tour, Akerman takes us inside their proc e s s. S he inter views member s of the c ompany, who Bausch chose not only for their talents, but for certain intangible personal qualities as well. The dancers describe "A k e r m a n ' s f i l m i s a w o r k o f m o d e s t l y d a r i n g w o n d e r, o f exploration and inspiration. With h e r au d a c io u s c o m p o s i t io n s, decisive cu t s, and tightropetremulous sense of time-and her stark simplicity-it shares, in a way that Wenders's film doesn't, the immediate exhilaration of the moment of creation. Akerman's film is of a piece with Bausch's dances."—Richard Brody, The New Yorker "Astonishing! ['With One Day Pina Asked…,' Akerman] achieved new levels of sensuality and emotional directness. Using lengthy takes and exacting compositions (two of her stylistic signatures), she encourages us to reflect on how the dancers' bodies give form to Bausch's ideas."—Ben Sachs, Chicago Reader

the development of various dances, and the way that Bausch calls upon them to supply autobiographical details around which the performances were frequently built.

A ke r m a n a l s o s h ows u s exc e r p t s f ro m p e r fo r m a n c e s of Bausch dances, including Komm Tanz Mit Mir (Come Dance

with Me) (197 7 ), Nelken ( Carnations) (1982), Walzer (1982),

and 1980 (1980), all recorded with Akerman's singular visual touch. " When I watched one of Pina's per formances for the first time a couple of years ago, I was overcome by an emotion I can' t quite define," Akerman says. One Day Pina Asked... is an attempt to define that emotion by travelling deep into Bausch's world.

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與翩娜有約

Coffee With Pina

以色列 Israel | 2006 | 52 分鐘 mins | 英語 English | 中文字幕 Chinese subtitles

11/9

7:30pm

三 Wed

大館賽馬會 立方綜藝館 JC Cube Auditorium, Tai Kwun 導演 Director

李．雅諾 Lee YANOR 編舞 / 演員 Choreographer/Cast

十年前 2009 年 6 月 30 日 ，對當代舞蹈影響深遠的編舞家翩娜 •

包殊（1940-2009）因病辭世 ， 享年 68 歲。這位憑著「舞蹈劇

場」開創舞蹈新領域的編舞家在過去近四十年來創作不輟 ， 其結

合舞蹈及戲劇性表現的作品震撼全球觀眾。 《與翩娜有約》中以色 列導演李 • 雅諾在 2002 至 05 年間與翩娜約會無數 ，從法國巴

黎到德國的烏帕塔 ，以超八厘米攝影機拍下她排練兩齣舞劇《水》 及《粗剪》期間的絕密私日誌 ，目睹她從漫步公園 、情迷咖啡廳 、 與馬共舞 ，為探索靈感無所不用其極 ，在鏡頭前毫無保留地展現 她的真性情。當中獨家呈獻的翩娜手指舞特寫至今仍為人津津樂

道 ， 被譽為是眾多以翩娜作題材的舞蹈紀錄片中最窩心之作。跳 格 ™ 2008 曾以《與翩娜有約》為開幕電影 ， 全場爆滿。本片為 2006 年耶路撒冷電影節 、 2007 年第二十五屆蒙特利爾國際藝

術電影節及巴黎龐比度中心舞蹈錄像精選作品。

翩娜．包殊 Pina BAUSCH

Pina Bausch (19 40 -2009), one of the worl d’s mo s t inf luential choreographers, passed away at the age of 68. Her impact on contemporary dance scenes is incalculable, and her vi sionar y work a s danc er, choreographer and creator of

Ta nz the ate r - t h e u n i o n o f dance and theatrical methods of stage performance creating a new, unique dance form helped redefine modern dance for audiences and won a growing and enthusiastic fan base worldwide. Filmed in Paris in 2002 when Bausch and Yanor first met, and in Wuppertal, Germany in 2005, hometown of Pina Bausch and her company, Coffee With Pina is a film between a documentary and video / art, an intimate dialogue with Pina Bausch. Isreali director Lee Yanor gave freedom to her intuitions and visual associations and created a film which can be best described as‘ filmed photographs’. Intimate moments in Pina’s universe in

the studio are mixed with footage of the performances Aguá and Rough Cut. Jumping Frames™ 2008 has present Coffee With Pina

as opening film.

The film is a selection of Jerusalem Film Festival 2006, 25 th International Festival on Films on Arts Montreal 2007 and Centre Pompidou Films de Danse.

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10-14/9 12nn - 10pm

15/9

二至六 Tue - Sat

日 Sun

12nn - 6pm

VR 舞蹈影像 ：

《留給未來的殘影》

VR Dance Video: Afterimage for Tomorrow

台灣 TW | 2018 | 18 分鐘 mins | 華語 / 英語 Mandarin / English

「您正在使用『生前記憶續存服務』， 您將可選擇三段記憶。在您

生命終結時， 本服務將刺激您的神經元使其顯影。記憶記載時間

為一根火的時間 ...」以眼、耳、鼻、舌、身、意接收下來的記憶，

儲存成文字、圖像、聲音、影像……藉由記憶的碎片，我們得以

導演 Director

陳芯宜 Singing CHEN

回返某個特定的時間點，讓時空扭曲交疊，但記憶卻不一定可靠。 導演陳芯宜與編舞家周書毅共同創作與演出， 以舞蹈呈現記憶中

難以言說的部分。殘影是人眼在物體消失後仍保留 0.1-0.4 秒的 影像，而我們現在製造的影像或記憶，可以在未來留存多久？

－ Welcome to the“ Af terlife Memor y Trust.”

With us, you will be selecting three pieces of

your memory to relive by the time you decease.

When your life terminates, we will stimulate your neurons to bring out the designated memories.

Each vision lasts a light time. －

We perceive the world through eyes, ears, nose, tongue, body and mind. These sensory is stored as memor y in words, pictures, © 舞者周書毅 Cast: Shu-Yi CHOU

sounds and moving images. With fractions of the transcribed memories, we are capable of returning to a specific point in time, which is an act of distortion and overlaying of time and space. However memories aren’t always reliable.

A man wakes up in an unknown dimension of consciousness. What is it that he sees, hears and feels? Is it memor y, vir tual reality or terminal lucidity?

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© 舞者葉王洲 / 楊雅鈞 / 王甯 / 方妤婷 / 潘柏伶 / 林修瑜 Cast: Wang-Chou YEN, Ya-Chun YANG, Ning WANG, Yu-Ting FANG, Bo-Ling PAN, Hsiu-Yu LIN

大館 F 倉展室 Hall F Studio, Tai Kwun

VR 舞蹈影像 ： 《SWIM 0.5》

VR Dance Video: SWIM 0.5

香港 HK | 2018 | 6 分鐘 mins | 華語 / 英語 Mandarin / English 概念及導演

編舞及演出

Concept & Direction

徐奕婕 Ivy TSUI

Choreography & Performance

郭達麟 Dylan KWOK

徐奕婕

Ivy TSUI

觀賞者將置身於一個重新解構的游泳池，坐在水泡上，利用虛擬 實境裝置欣賞一齣三百六十度拍攝的舞蹈影片。

作品猶如一趟超現實的旅程，觀賞者穿梭於現實及虛擬之間，除 了感受官能上的刺激，亦能激發他們對舞蹈及空間的想像。

特別鳴謝藝術推廣辦事處、環境保護署、康樂及文化事務署的支 持及協助。

Immersed in a de-constructed swimming pool, viewer will be invited to sit on a lifebuoy and enjoy a 360-degree virtual reality dance movie.

The work provides viewers a brand new sensory and sensational experience on both dance and space, and creates a surrealistic journey for viewers to travel between reality and virtual reality, so as to stimulate their imagination.

Special thanks to Art Promotion Office (APO), Environmental Protection Department (EPD) and Leisure and Cultural ©Max CHENG

原始復刻

Services Department (LCSD) for making it happens.

( 影像裝置藝術 )

Primitive Nostalgia

(video installation)

澳洲 AU | 2014 | 5 分鐘 mins

Primitive Nostalgia 是一次獨特的旅行， 當中會捕捉和放映著

卡露蓮．賈西亞 Caroline GARCIA

錄了各民族劇團表演對文化舞蹈的描繪， 屬於一種對文化身份建

導演 Director

令人最印象深刻的舞蹈條目。在這些電影樣本的集合中， 明確記 構的關注。

Primitive Nostalgia is a unique voyage through Hollywood cinema, featuring some of the most memorable dance numbers to ever be captured on film. In the assemblage of these cinematic samples, which explicitly record portrayals of cultural dances performed by various ethnic troupes, a concern for the construction of cultural identity emerges.

©Caroline GARCIA

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節目表 Programme Schedule 百老匯電影中心 Broadway Cinematheque 日期 Date

時間 Time

6/9 (五Fri)

7:30pm 9:20pm

7/9 (六Sat)

6:00pm 7:45pm 9:45pm

8/9 (日Sun)

6:00pm 7:50pm 9:40pm

節目 Programme

舞影 • 混雙 Hybrid Motion 臉 Visage

寫伎書顔 The Written Face 我身記憶 Memories of My Body 翩翩人生波麗娜 Polina

亞洲舞林短打 Asian Dance Shorts 創世紀 Russian Ark 夢女芭蕾 Girl

大館賽馬會立方綜藝館 JC Cube Auditorium, Tai Kwun 日期 Date

時間 Time

7/9 (六Sat)

2:30pm

9/9 (一Mon)

7:30pm

10/9 (二Tue)

7:30pm

11/9 (三Wed)

7:30pm

節目 Programme

相／人／再起舞 Look Two Ways Revisited × 冇照跳 Dance Goes On

瑪姬瑪漢《緊急行動》 Maguy Marin ― The Urgency to Act × 姬爾斯美嘉《在當中》 Mitten about Anne Teresa De Keersmaeker 身體年輪 @ 銀青乒乓 Body in Time@GGPPP × 最美一幕 Third Act 與翩娜有約 Coffee With Pina × 有天翩娜問 One Day Pina Asked

大館 F 倉展室 Hall F Studio, Tai Kwun 日期 Date

時間 Time

10-14/9 (二至六Tue - Sat) 12nn-10pm 12nn-6pm 15/9 (日Sun)

節目 Programme

《留給未來的殘影》 VR 舞蹈影像： VR Dance Video: Afterimage for Tomorrow VR 舞蹈影像： 《SWIM 0.5》 VR Dance Video: SWIM 0.5 原始復刻 ( 影像裝置藝術 ) Primitive Nostalgia (video installation)

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購票須知 Ticketing Information 票價 Ticket Prices(1)

HK$ 95 / $75#

適用於百老匯電影中心上映之節目 For programmes at Broadway Cinematheque

HK$ 150 / $75#

適用於大館賽馬會立方綜藝館上映之節目 For programmes at JC Cube Auditorium, Tai Kwun

HK$ 30 / $15#

適用於大館 F 倉展室上映之收費 VR 節目 For paid VR programme at F Hall Studio, Tai Kwun #

全日制學生 (2) 及小童、六十歲或以上高齡人士、殘疾人士及看護人、綜合社會保障援助受惠人 (3)

Full-time students(2) and children, senior citizens aged 60 or above, people with disabilities and accompanying minder, Comprehensive Social Security Assistance (CSSA) recipients(3) #

九折優惠 10% Discounts

於票房每次交易之首兩張門票 First two tickets per transaction at box office • 2019 年度電影節發燒友會員 2019 HKIFF Cine Fan • 百老匯 bcinephile 及 MOViEMOViE 會員 ( 大館賽馬會立方綜藝館及 F 倉展室上映之節目 )

Broadway bcinephile and MOViEMOViE members (for programmes at JC Cube Auditorium and F Hall Studio, Tai Kwun)

八折優惠 20% Discounts

於票房每次交易之首兩張門票 First two tickets per transaction at box office • 百老匯 bcinephile 及 MOViEMOViE 會員 ( 百老匯電影中心場次之節目 ) 及「舞蹈靈」持卡人 Broadway bcinephile and MOViEMOViE members (for programmes at Broadway Cinematheque) and holders of CCDC Dance Inspirations Card

門票現於城市售票網 ( 於大館賽馬會立方綜藝館上映之節目 ) 、 撲飛 www.popticket.hk ( 於大館 F 倉展室 上映之收費節目 ) 、 百老匯電影中心票房、 自動售票機及網站 www.cinema.com.hk ( 於百老匯電影中心 上映之節目 ) 公開發售。 Tickets NOW available at URBTIX (for programmes at JC Cube Auditorium, Tai Kwun),

POPTICKET www.popticket.hk (for VR programmes at F Hall Studio, Tai Kwun), the ticketing kiosk at Broadway Cinematheque and auto-ticketing machine of Broadway Circuit, or at www.cinema.com.hk (for programmes at Broadway Cinematheque).

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城市售票網 URBTIX(4)

信用卡電話購票 Credit Card Telephone Booking 2111 5999 網上購票 Online Booking www.urbtix.hk 流動購票應用程式 My URBTIX (Android 及 iPhone 版 ) 購票 Mobile Ticketing App My URBTIX (Android

and iPhone versions) Booking

網上購票、信用卡電話購票及流動購票應用程式每張手續費 HK$8。Handling fee for online, credit card telephone

booking and ticketing App is $8 per ticket.

百老匯電影中心 Broadway Cinematheque(4)

網上購票 Online Ticketing www.cinema.com.hk 網上購票均需收取手續費：Handling fee will be charged on each ticket purchased online: 星期一至五每張 $8 ，星期六、日及公眾假期每張 $10。$8 per ticket (from Mon to Fri),

$10 per ticket (on Sat, Sun and public holidays)

撲飛 POPTICKET(4)

網上購票 Online Ticketing www.popticket.hk

節目查詢 Programme Enquiries 2329 7803 / info@ccdc.com.hk

售票條款 Terms & Conditions

(1) 所有已出售的門票均不能退款，亦不能更換其他放映之場次。 (2) 凡購買百老匯電影中心場次之學生票，須於票房劃位前及入場前出示有效的全日制學生證。大館賽馬會立方及 F 展室場 次之學生票持有人，須於入場前出示有效的全日制學生證。 (3) 凡購買百老匯電影中心場次之高齡人士、殘疾人士及綜合社會保障援助受惠人優惠票，須於票房劃位前及入場前出示有效 證明文件。大館賽馬會立方場次之高齡人士、殘疾人士及綜合社會保障援助受惠人優惠票持有人，須於入場前出示有效證 明文件。 (4) 所有門票均受百老匯院線、撲飛及城市售票網的銷售條款所約束－請參閱 www.cinema.com.hk 、www.popticket. hk 及 www.urbtix.hk 網頁上之告示 (1) All tickets are non-refundable and non-exchangeable.

(2) Students must present valid full-time student ID card before purchase of tickets and admission to the house at Broadway Cinematheque. For programmes at JC Cube and F Hall Studio, Tai Kwun, student ticket holders must present proof before admission.

(3) Senior citizens, people with disabilities and CSSA recipients must present proof before purchase of tickets and admission to the house at Broadway Cinematheque. For programmes at JC Cube and F Hall Studio, Tai Kwun, the ticket holders must present proof before admission.

(4) All tickets are subject to the Purchase Policy of Broadway Circuit, POPTICKET and URBTIX - Please refer to the Terms and Conditions at www.cinema.com.hk, www.popticket.hk and www.urbtix.hk

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