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ISSUE 29 December 2016

An bi-lingual and bi-monthly independent magazine aimed at bringing works of the young and talented to the world.


We know we haven’t been communicating with our magazine readers for a while (quite a long one). There are some changes we would like to let you know about so we think now is the best time to send you all a quick, juicy message! From this issue on, Garde Magazine will be issued bimonthly. This way we hope to bring you even better content as we stick with our angle on pure creativity. We hope you’ll also be excited to hear that each issue will be themed. Our last big news? Our magazine is now be bi-lingual! For this issue, the theme is “Festivals” and we are featuring 3 very different kinds: Street Food Festival, Cully Jazz Festival and Festival Verdi. Here we have different perspectives of creativity shining in the same way but in various directions. Last but not least, happy reading and Merry Christmas!


我們雖然有很久的一段 時間都沒有跟大家溝 通,但是我們有些消息 希望可以完整的跟大家 溝通。經過再三考慮之 後,決定重出江湖! 從第29期開始,Garde Magazine將會由月刊變 成雙月刊。為了為您帶 來更高質素的內容,每 一期的雜誌將會有特定 主題。與此同時,雜誌 亦將會以雙語出版! 這一期的雜誌將以「 節」為題。我們為您帶 來了三種不同的「節」 :街頭美食節、爵士音 樂節和Verdi歌劇節。慶 祝方法雖然雷同,卻是 照耀了不同種類的創意 方向! 最後不得不說的是:希 望大家享受這期雜誌, 並祝各位讀者聖誕及新 年快樂!

An independent magazine aimed at bringing the works of the young and talented to the whole world. Believing in ideas, thoughts and concepts, Garde Magazine follows the principle of simplicity and honesty.

FOUNDERS Cleo Tse Natasha Chan

CREATORS Ale Giorgini

David Massara

Michael Sallit


Kalle Ă–stgĂĽrd

Michael Sallit & Street Food Festival Graphic Design Inspired by music and culture

Ale Giorgini & Festival Verdi Illustration Youthful thinking

CONTENT David Massara & Cully Jazz Festival Graphic Design With passion and practicality

David Madsen Best of 2016

“I think it is stories in spaces, not the spaces themselves, that shape human experience.”

「我對於以空間的各種可能來說故事和發揮集體想像非常 感興趣 – 我認為是在空間裡的故事讓人獲得體驗,而不 是空間本身。」

“Be curious, be patient, work hard and never trust those who never smile doing their job.” 「保持著好奇心,保有耐性,勤奮工作並不要相信那些不 帶著笑容盡本分的人。」

““For me, waking up every morning and being happy with what I am doing is successful.” 「對我來說,每天起床對於自己所做的都感到高興無比並 樂在其中已經是成功的一部分了。」

In a year where hatred, fear and xenophobia has ruled the day in politics, that’s a message we should all think about long and hard. 我們需要深刻思考的是:政治是否已經將憎 恨、恐懼和仇外情緒等等化為鬥爭的工具。




Inspired by music and culture 音樂和文化的靈感爆發

Michael Sallit is a Frenchman from Dijon (famous for its mustard, he points out) who is currently making a living in Paris. Drawing inspiration from his background as a music fan, Michael aims to create graphic design that is enjoyable for everyone - just like the vinyl sleeves he grew up with. “Graphic design for graphic designers” is not this self-taught artist’s style - in fact, he doesn’t even like to refer to himself as an artist! Graduating from high school, Michael had no idea what his profession would be. During his masters – Cultural Affairs – he managed a festival with his classmates and got a chance to produce concert posters. Finally, all the obscure 70’s album art, computer tinkering and other different cultural and graphical expressions he’d been exposed to could be put into a creative process. Graphic design was to be his calling.

居住於法國巴黎的本土設計師Michael Sallit來自 第戎(Dijon,Michael特意指出該地著名出產芥末 醬)。作為一個狂熱音樂粉絲,他的平面設計創作 主力為觀眾帶來享受 – 就像與他一起成長的黑膠唱 片一樣。「平面設計只供平面設計師觀看」的古老 定律並不適用於這位藝術家;他甚至不喜歡稱自己 為藝術家! 自高中畢業之後,Michael對於人生未來沒有方向。 在他就讀文化事務碩士課程的時候,他和他的同學 恰巧獲得一個為演唱會制作海報的機會。在他小時 候的各種唱片封套設計的耳濡目染,他從70年代的 唱片藝術,電腦加工和各種文化和平面表達方式的 取其所需,集各家大成。平面設計最後成為了他的 歸屬。

Michael Sallit - Lyon Street Food Festival

“It’s not an easy thing to do every day. I’m scared of the blank sheet of paper because I have to attain something presentable, something that’s pleasant to see and also comprehensible. I must constantly be creative and try to find new ideas while remaining to a global aesthetic,” he says. “The most important thing is to create a unity between visuals, typography, and the response to the commission,” he added. “I am interested in the capacity of spaces to act as vessels for storytelling and collective imagination – I think it is stories in spaces, not the spaces themselves, that shape human experience.” Although he tries to avoid projects that do not inspire him, Michael is not afraid of trying things that are outside his personal interests. “It is very motivating since it takes me out of my comfort zone, but I must admit that I try to avoid projects with too many constraints from the sponsors. Like ‘change type,’ ‘make it bigger…’”

「這對我來說其實一點都不容易。想到每天都看著一張空白的紙然 後我要創作出可以見人的東西,甚至是一些看起來很好看、很美 麗、讓人能夠理解的東西。我需要在符合大同美感的條件之下時刻 讓自己保持充滿靈感和在各方面尋找新的點子。」 Michael說:「最重要的目的是在影像、字型和創作目標上取得融 和。我對於以空間的各種可能來說故事和發揮集體想像非常感興 趣 – 我認是在空間裡的故事讓人獲得體驗,而不是空間本身。」 即使Michael會盡量嘗試避開他不感興趣的項目,他卻也不排斥嘗 試在他本身興趣以外的創作。「在我興趣以外的項目讓我很有動 力,因為它令我離開我的安舒區,但我承認我會避開贊助商給予太 多掣肘的項目,比方說『把字型改改』、『大一點』這種……」

Michael Sallit - Lyon Street Food Festival

Michael’s dream project comes from his musician alter ego: to design a graphic identity for a label including all the record sleeves to create a coherent set. When asked what his next target is, Michael says he’s inspired by the pure essence of graphic design and the way the visual information can evoke an emotion, promote a dialogue and have an impact on those that interact with it. “So the next target will be to go further in this respect, but the most important thing for me is to be humble in my work. I have no artistic pretensions; I just want my work to please the greatest number!” Lyon Street Food Festival

Michael的夢想項目來自他的視音樂為第二生命的自我:為 同一家唱片公司設計一系列唱片封套並組成連續創作。 被問及下一個目標是什麼,Michael說他被平面設計的精粹 和視覺資訊能令人有感而發、延伸對話等的能力而啟發。 「所以我下一個目標是朝著這個方向前進,當然不能缺乏 的是對自己的創作抱著謙虛的態度。我並不是想要創作高 深莫測的東西,而是令所有人都喜歡的作品!」

Hosting a street food festival is hardly a new concept these days. However, two things stood out to inspire Michael for this A-Z commission (from plastic cups to metro ads). Firstly, the organisers emphasised that they definitely did not want the standard “photos of smiling chefs and fresh vegetables” imagery. Graphical illustration of the dishes itself, instead, was suggested. Secondly, the theme of the festival was the more exotic “Hong Kong” - or French Michelin chef ’s version of Hong Kong, at least! Michael responded by illustrating a number of typical Asian dishes as well as symbols – noodles and dumplings, Maneki-neko and dragon masks, and so on. The visual language boldly brandishes clear signal colours - vivid red and flourescent yellow - and the typography pops with strong contrasts and neon tube letters for the headlines. As this was the first-ever edition of this festival, there was nothing to look back to - a very blank sheet in fact. The eye-catching and unconventional design seems to have paid off, with more than 12,000 visitors coming to eat, listen to music and experience Asian cultural offerings.

里昂街頭美食節 在街頭舉辦美食街在這些年頭已經不是什麼新鮮事了,然而,Michael 卻說他被兩件事情而吸引了去幫忙做這個A-Z的委約(也就是負責設 計從膠杯到地鐵廣告都是設計項目)。 首先,活動主辦方說他們絕對不想要坊間常見的設計,例如大廚在微 笑或者新鮮蔬果那一種。他們特別建議每道美食的插畫可以作為其中 一個途徑。第二,主題必須貼合美食節極具異地風情的主題「香港美 食」或者是法國米芝蓮式的香港美食! Michael由此開始畫了各種各樣典型的亞洲美食和亞洲飲食的象徵: 麵條、餃子、招財貓、龍頭等等。令人眼花繚亂的插畫加上燦爛的顏 色 – 大紅和熒光黃配合像是霓虹光管的大型字體,Michael成功的營 造出搶眼奪目的視覺效果。 首屆的美食節在Michael的設計和各家廚師精心炮製的美食下完美落 幕。雖然沒有辦法跟之前的結果比較(才第一屆美食節!),但是起 碼我們可以肯定有超過一萬兩千名來賓的來賓和眼睛和胃都充分享受 了亞洲美食文化。

Ale giorgini festival verdi

梵蒂歌劇節 illustration


youthful thinking 青春常駐的思考力

Taking place every year in Parma, Italy, Festival Verdi celebrates musical creations of the well-known opera composer Giuseppe Verdi. The chosen opera Aida was set in Egypt and expectedly, people in Parma got to enjoy a hint of Egyptian culture. Ale Giorgini is the mastermind behind Festival Verdi. In short, he concluded that the gist of the project is “thinking as a child, which is the most difficult thing ever for an adult.” “I created a series of illustrations for a colouring book that also works as small paper theatre. There is also a huge photo booth wall where kids could take pictures dressed like Radames, Aida or Rigoletto (characters in Aida),” explained Ale.

為慶祝舉世知名的歌劇作家Giuseppe Verdi的文化創作,每 年在意大利城市帕馬都會舉行梵蒂歌劇節。本年度挑選的劇作 是Aida,可想而知的帕馬的人們將有機會享受遠在千里之外 的埃及文化。 作為梵蒂歌劇節的幕後主腦,Ale說這項目的核心是「要跟小 孩子一樣的思考是這項目最困難的部分 – 尤其你已經是成年 人。」 「我為歌劇節畫了一系列的圖像:除了可以用來做填色活動之 餘,也可以用來砌成小型紙劇場。場地裡還有一個大型的拍照 牆,讓小孩子可以穿上Radames、Aida或Rigoletto(Aida 的的角色)衣服拍照留念。」Ale解釋道。

(On the left) Ale Giorgini & Verdi Festival at Fidenza Village (Poster)

For him, illustration has always been his passion and it was natural and instinctive. He has been in the industry long enough to form his own unique views. “I don’t believe in inspiration; I guess it doesn’t exist. I don’t ‘wait’ for something to grab my hand and start drawing. For projects, I need to find several ideas every day. Only being hardworking can inspire me.” Spending most of his spare time with his dog, Ale said he has learnt a lot from it. He has no regrets of the past, no scare about the future and is involved in the present moment. He also follows his colleagues’ suggestions and advice. Ale had been an art director for 15 years before becoming an illustrator when he realised communication could be an extended path for his career. At the beginning, it wasn’t easy. Ale quit his job to follow his dream but reality was not as beautiful. He had to defend his vision and keep himself clear in his goals. After all, there are bills to pay and people to feed.

對Ale來說,插畫一直以來都是他的熱情所在,亦沒有任何掙扎 和思考。在這個行業待久了,Ale也有他一些獨到的心得。 「我不相信靈感;我不相信它的存在。我不會『等待』有些什 麼的東西來抓起我的手幫我畫畫。對於每個項目,我都會每天 尋找不同的新意。勤勞是我唯一的靈感。」 身為一狗之主,Ale說他從寵物身上學會了很多,所以他對於過 去不會後悔;不會對將來感到害怕;更是活在當下。在工作的 時候,他也很會聽從同事的提議和建言。 擁有15年的藝術總監資歷的Ale發現傳理可以成為他事業的延 伸,所以他毫不猶疑的成為了插畫家。剛開始的時候並不容 易,Ale辭退了他的工作並開始追夢。現實是殘酷的(比如養家 活口),然而Ale死命的捍衛自己對未來的遠見和他的目標。

“Picking a project is all about timing and budget: I need to have time to work in the best way as possible and also be rightfully paid. But sometimes I worked on projects that had low budget and/or crazy deadlines just because I fell in love with the project itself.” Festival Verdi is a perfect example for a good project. Ale was guided by the communication agency but also given freedom to move forward with his vision. A supportive and open-minded agency is crucial for a great collaboration. Even though he hasn’t watched any works of Verdi, Ale was given the chance to create and get to know more about the opera composer and his personality. “We want to let children have fun with arts and creativity and change the stereotypical impression of opera from ‘boring’ and ‘old’ to exciting and interesting. The best way is to make sure they never forget to play!” Ale said he enjoys seeing children have fun with his creations.

「挑選項目的先決條件是時間和預算:我需要有足夠的時間去 完成工作並且得到應得的酬勞。不過有時候我會做一些時間非 常緊迫或預算很低的項目 – 純粹是因為我真的很喜歡那個項目 內容。」 梵蒂歌劇節作為一個項目是一個非常正面的例子。Ale在由傳訊 代理公司的引領下同時獲得創作的自由:一個對他表示支持並 思想開明的代理在承接項目當中是非常關鍵的。 即使他從來沒有看過梵蒂的任何劇作,Ale得到了一個充分了解 梵蒂作為劇作家的背景並為之創作的機會。 「我們希望小孩子透過藝術和創意得到快樂,並改變普遍認為 『歌劇是沉悶和老套的』這個典型印象。歌劇可以很有趣也可 以很刺激!最好的方法就是讓他們參與其中,享受歌劇的樂 趣。」Ale說他非常高興看見小朋友樂在其中。

A few days after Festival Verdi, Ale received photos and a decision notifying him that the images he created will be painted in the pediatric ward of the Hospital of Parma. “I overcame the difficulties by trying to have fun. I want to play as a child and not as a working adult,” said Ale. After illustration, Ale expanded his field to product design where he first tried to design a desk lamp called MOBI. He had a lot of fun in the process and said he had “never done something like this before.” To end with a note for illustrators, Ale says: “Be curious, be patient, work hard and never trust those who never smile doing their job.”

梵蒂歌劇節之後的幾天,Ale收到活動照片之 餘收到一個消息:他的創作將會在帕馬醫院的 兒童病房裡被繪成壁畫。「我排除萬難也只是 為了大家玩得開心。我自己也想作為一個孩子 的跟小朋友一起玩,而不是一個已經在工作的 成年人。」 雖說Ale對插畫忠心不二,不過他最近將興趣 擴展到產品設計的方向。他的處女作是一盞名 為「MOBI」的桌燈。他說他除了很享受過程 之餘,更驚嘆「我從來沒有試過做這樣的一個 項目!」 作為插畫家,Ale有個小建議: 「保持著好奇心,保有耐性,勤奮工作並不要 相信那些不帶著笑容盡本分的人。」

david massara cully jazzy festival

高利爵士音樂節 graphic design


with passion and practicality 夢想與現實之間

As a big fan of Jazz, it seems very reasonable for David to design for Cully Jazz Festival. Held in Switzerland, the music festival has offered a comfortable and relaxing environment for jazz amateurs over the past 32 years. Looking at the logo, David has combined different elements: Fibonacci scale, Didot font that is frequently used for Jazz album covers and chiaroscuro style of blue domination (Blue Note!). The mixture with Jazzy hints has led out the classiness of the music style. “Jazz is like a kind of code and virtuosity has a part of it so I wanted to transcribe it in the logo. Fibonacci Scale conveys the sensation of perfect value suitably,” says David. It all started when David was 12 and first learnt Adobe software programs. It took David four years to work from amateur projects like signatures used in forums to professional assignment like client-appointed projects.

作為爵士音樂的追隨者,由David Massara來設計高利爵士音樂節的視 覺系統似乎最適合不過。在瑞士舉行的 高利爵士音樂節已經在過去32年為無 數爵士音樂愛好者提供舒適和輕鬆的環 境享受音樂。 先看看音樂節的標誌,David採用了多 種主要元素:著名的費博納茲比例,常 用於爵士專輯封面的字型Didot和明暗 層次分明的藍色基調(藍調!)。充滿 爵士感的設計將音樂本身的感覺完美呈 現。 David說:「爵士本身就像是一種蘊涵 高深技巧的編碼,所以我想透過圖標就 將這種特質表現出來。費博納茲比例將 爵士的完美分割和融合表達得淋漓盡 致。」 David從12歲開始就練習使用Adobe程 式(圖像處理軟件)。他用了足足4年 從新手上路的項目(論壇用戶簽名)進 步到由客戶指名的專業策劃。

He is now 22 years old and studying a bachelor degree of graphic design/ visual communication. He has always been assured about what path he was to choose. “Graphic design is something I know I can learn about forever. It’s great to know I can always learn because it is so big. I can feel that I am in my place,” expressed David. Speaking about work life and school life, David says “The biggest difference between school and work are DEADLINES. One has to produce quality outcome in a short time and has less time to overthink or be experimental. Technical parts and different application are also very important.” David developed the idea for Cully Jazz Festival by documentation research about the festival itself, its concurrency and even jazz music. He was deeply drawn into the brilliance and quality of improvisation.

現年22歲的他正在就讀平面設計和視覺傳訊的學士學位。他 對於自己所選擇的前路並沒有任何猶豫。 「我知道我可以窮盡一生來學習平面設計。有這麼一個科目 可以不斷學習令我感到非常興奮。我覺得我已經找到自己的 定位了。」 提及如何讓工作和學習的分別,David說:「兩者之間最大的 分別就是『截止日期』。工作需要在短時間內有高質素的成 果,即沒有時間容許過度思考或者做實驗性的嘗試。技術上 的考慮和各種應用也要考慮在內。」 從文獻搜索開始,David不斷地為高利爵士音樂節建立構思。 除了音樂節本身的歷史,他更會搜索其他類似音樂節的資 料,甚至是爵士音樂本身!在途中,他深深地被即興演奏的 特質吸引住了。

David Massara - Cully Jazz Festival (Poster)

Ale Giorgini - Fest

tival Verdi (Poster)

Yet his inspiration did not come as quick as a click and he had to try different designs. David said it is particularly difficult nowadays to be the first one making original concept as the Internet spreads ideas so easily. “I wasn’t satisfied enough with the first idea. I then did several experiments and then I could tell that ‘this is it!’” From David’s perspective, he doesn’t have a role model to look up to, as his principle is not to focus only on someone else’s works. Design vision or work philosophy is what he cares more about.

比起資料搜集的容易過 程,靈感卻一直姍姍來 遲。David說他嘗試過不同 的設計,但由於互聯網散 播消息的速度非常高,制 作出原創概念現在已經頗 為困難。「我對於我第一 個設計並不滿意,唯有不 斷嘗試新點子。最後有一 個設計讓我覺得『就是它 了!』。」 David說由於他的原則是 不希望只學習少部分人的 風格或特色,所以在平面 設計方面,他並沒有特定 的學習對象。設計的理念 和哲學是他更為注重的方 面。

In spite of his attitude of “no role model,” Japanese and Scandinavian culture have deeply moved him and inspired him in various ways. “There are some points that connect me to the culture. Their design value/vision and aesthetics resonate with what I want to show people.” Although he is young, David does not show any hesitance in what he is doing. “For me, waking up every morning and being happy with what I am doing is successful. I want to find a great design studio that shares that same mind with me and is willing to give me an opportunity to evolve as a graphic designer.” David is currently working back to the basics – typeface. “I am still working on it but I can feel my passion already. I am going to combine Japanese and Swiss typography! It is called ‘Vento Aureo’ and it is on the top of my most unforgettable project list!” When it comes to his dream project, David’s vision is unbelievably clear. “I want to build the entire identity for a shop like clothing store or café. It would be amazing if I can shape the outlook for a shop. And I know something for sure: everything has a reason to be in a project, nothing is left to chance.”

即使他說他並沒有學習對象,我們得知David的設計 在各方面深受日本和北歐文化影響。「就是有某些元 素讓我和那種文化聯結起來。他們的設計理念、願景 和美學跟我想展現人前的都非常接近。」 儘管他依然年少,David對於前路並沒有任何其他想 法。「對我來說,每天起床對於自己所做的都感到高 興無比並樂在其中已經是成功的一部分了。我很想找 到一家可以分享自己想法和願意給我機會的設計工作 室讓我往平面設計師的路上邁進。」 David現在正返璞歸真 – 在設計字型上自由馳騁。 「我尚在嘗試當中,但我已經知道我會愛上字型設計 了。我接下來的設計將會融合日本和瑞士的字型元素 並會將之命名為『Vento Aureo』。它將會成為我最 難忘的項目,沒有之一!」 被問及他的夢想項目,David的回答毫不含糊。「我 想為一家店,像是時裝店或者咖啡廳,設計整家店鋪 的身份(比如室內裝潢,宣傳物料等)。如果我可以 為店鋪奠基,那將是多有趣的的項目!在於設計,我 知道所有決定都有背後的原因,無緣無故的設計並不 存在。」

best of 2016 by david madsen

Look, let’s not beat around the bush: For all intents and purposes 2016 was a shit year where a lot of good people died and a lot of bad fucking people came to power. The year in cinema wasn’t much better, a year mostly deluded by terrible blockbuster films, which all either underperformed or tanked completely. Warner Bros continued to embarrass themselves with their DC Universe films, Fantastic Beasts and Where to Find Them – their ‘spin-off ’ of Harry Potter – was depressingly mediocre and most of the big sequels released was a complete waste of time. Remember the sequel to Independence Day which didn’t feature Will Smith? Remember the Ghostbusters reboot with an all female cast every piece-of-shit misogynist and sniveling fanboy lost their collective mind over? Remember how Suicide Squad looked promising then turned out to be crap, partly because Warner Bros hired the company behind the trailer to cut the final film?

讓我們立即切入正題 - 2016年是一個讓人憂傷的年份:因為 很多好人都死了,然後很多渣渣都登上了權力的舞台。這個情 況在電影的虛幻世界裡面也沒有好一些:很多難看的票房保證 電影矇騙了觀眾的眼睛。要麼就是電影沒有原有的預期表現, 要麼就 是完全虧本。華納兄弟繼續以DC 漫畫英雄為題的電 影來讓自己尷尬不堪;電影『哈利波特』的「續集」『怪獸與 牠們的產地』則非常平庸,純粹在浪費時間。還記得沒有Will Smith的電影『天煞•地球反擊戰』嗎?記得重拍一遍的並使 用全女班演員的『捉鬼敢死隊』令一眾(男性)捧場客噓聲四 起嗎?記得由於華納兄弟聘用制作預告片的公司來剪輯最後版 本而令『自殺突擊隊』看起來的氣勢強勁其實後勁不繼嗎?

Fantastic Beasts and Where To Find Them (2016), Heyday Films. Directed by David Yates. Ghostbusters (2016), Village Roadshow Pictures. Directed by Paul Feig. Independence Day (1996), Centropolis Entertainment. Directed by Roland Emmerich. IMP Awards. Suicide Squad (2016), DC Entertainment. Directed by David Ayer.

Across the board 2015 was a much, much stronger year for films and since I didn’t make a ‘Best of ’ list in 2015 here’s a few highlights from that year. 2015 saw an astonishing amount of excellent reboots. Ryan Coogler made the best Rocky-film since the original with Creed, Star Wars: The Force Awakens basically remade the original film but with a stellar cast of diverse, colourful characters and of course, Mad Max: Fury Road is a film I’ve seen more than twenty times at this point and still adore. It was a great year for women as well who for once got a chance to play the lead in some of the year’s best films. While I wasn’t entirely impressed by Ex Machina, Alicia Vikander was brilliant as the imprisoned artificial intelligence, Ava, Tangerine gave a much needed voice to black transwomen, Brie Larsson’s Oscar-winning performance in Room showed the effects of PTSD more effectively than any war film I’ve seen, Jennifer Jason Leigh shined in Tarantino’s divisive western The Hateful Eight as the villain and Emily Blunt’s portrayal of an idealist FBI agent in the haunting thriller Sicario once again showed her to be one of the most capable actors around. The latter film was also the director Denis Villeneuve’ big breakthrough - a director we will return to later in this article. 2016 did have a few notable gems in between what was otherwise an abysmal year and the three following titles would all be worthy of appraisal no matter the overall quality of the year.

相比之下,2015則是非常高質的一年。雖然我沒有寫一篇「2015 電影之最」,但是我也希望用短短兩段文字跟大家分享我的精 選。2015年有好幾個電影重制版本都非常出色。Ryan Coogler繼 原版電影『金牌拳手』之後創作出最棒的『洛基』電影;『星球大 戰:原力覺醒』基本上將整套電影重新制作,但是選角方面更加精 彩;還有重新制作的『末日先鋒:戰甲飛車』我看了不下二十次依 然覺得劇力萬鈞。 對於女士們來說,2015也是一個好年份。2015年的女演員們得到 不少在優秀電影中演出的好機會。雖然我對於『機械姬』的印象並 沒有特別深刻,但是Alicia Vikander演繹被囚禁的人工智能十分出 彩;『跨性有話兒』為黑人變性女子那個用力發聲;Brie Larsson 在『抖室』裡面的獲獎表演比任何我所見的戰爭電影更能讓人充分 理解創傷後遺症;Jennifer Jason Leigh在塔倫天奴的西部電影『 冰天血地八惡人』詮釋一個精彩的壞人;Emily Blunt在恐怖片『毒 裁者』中飾演的聯邦密探形象再次告知世人她是最適合演繹這題材 的演員之一。電影『毒裁者』同時也是導演Denis Villeneuve的一 大突破 – 我們將會稍後提到。 話雖如此,2016亦非不名一文。在芸芸爛片當中,以下三套電影依 然發光發亮。

Tangerine (2015), Duplass Productions. Directed by Sean B. Baker. IMP

Creed (2015), MGM Pictures. Directed by Ryan Coogler. Sar Wars: The Force Awakens (2015), LucasFilm Ltd.. Directed by J.J Abrams.

Amanda Knox Over the years there has been plenty of coverage of Amanda Knox, a young American transfer student who was convicted for the murder of another student in Italy in 2007. However instead of focusing on the vague details of this brutal murder and whether or not this young woman really did murder another person, this documentary is much more interested in the surrounding circumstances of the murder. From the very first time we see his greasy, smug face, there is no doubt the real villain here is the freelance tabloid journalist Nick Plasa and the industry which made Knox out to be a crazed rapist and coldblooded killer. Playing on her high school nickname ‘Foxy Knoxy,’ publishing the woman’s diary entries from prison and reporting hearsay and rumors as fact, the documentary shows the power of the press and how it can be perverted and mishandled in a desperate pathetic battle for readers’ attention. It’s a documentary that plays out like a sleazy giallo film, making great use of archive footage and interviews to spin a fascinating tale but is more importantly a nuanced portrayal of a young woman who time and time again was misrepresented, abused and maligned by a press looking for a sexy story. It will royally piss you off.

『阿曼達・諾克斯』 有關於阿曼達諾克斯的報導在今年都不絕於耳:一名年輕的美 國交換生在2007年被指控於意大利謀殺另一名學生。這套紀 錄片撇開報導該宗兇殘謀殺案的模糊細節和該留學生是否有謀 殺他人的疑雲,轉而記錄謀殺案周遭的環境和情況。 鏡頭一開始,我們就看見了自由小報工作者Nick Plasa的充 滿油光並痞子一般的臉,他毫無疑問就是本片的壞人:將諾克 斯塑造成瘋狂強姦犯和冷血殺手。利用她高中的綽號「Foxy Knoxy」,小報報導她在監獄中的日記、道聽途說的消息並 將之弄成事實一般 – 這套紀錄片顯示傳媒的強大力量之餘更 彰顯出為了爭取讀者銷量的所有醜陋鬥爭。 這套紀錄片的拍攝具有賈洛 (20世紀意大利恐怖片 )的風 格:利用不少存檔影像和訪問來將一個故事扭曲之餘更將一個 年輕女性的形象透過錯誤報道,濫用污衊來達到傳媒尋找引人 入勝的報導的效果。這電影絕對令人髮指。

Amanda Knox (2016), Netflix. Unknown.

Deadpool (2016), Marvel Entertainment. Directed by Tim Miller.

Deadpool Over the past decade Ryan Reynolds has become somewhat of an industry joke when it comes to superhero films. Not only did he stare as the merch with a mouth in an unrecognizable version of the character in the awful, awful XMEN Origins: Wolverine, he was the lead in Green Lantern which was such a colossal failure it basically made the character toxic and unmarketable for the foreseeable future. So when the actor’s pet project which he had tried to get producers behind for over a decade turned out not just to be a success, but tore the box office down and was unanimously beloved by critics and audiences alike, it came as more than a surprise. In many ways it represents a new chapter for the superhero genre as a whole. Neither following in the footsteps of DC’s overtly dourer, ugly, overly serious tone or the somewhat interchangeable, manufactured feel of the Marvel Cinematic Universe, Deadpool is a beast all unto itself. The most obvious difference between this and prior films in the genre is of course the fact that it’s an R-rated film, making it the superhero genres equivalent of The Hangover. There’s an obvious love for the source material and an awareness of Reynold’s previously mentioned debacles, but more than anything, what makes Deadpool work is its attitude. Yes, not every joke lands, and ultimately it’s a rather mundane origin story with yet another forgettable villain, but it shows it all off with such confidence, such gusto, it’s almost impossible not to fall for this silly little film.

『死侍』 在過去十年,當人們提起Ryan Reynolds和超級英雄電影的時 候,就會變成一個圈內的笑話。這並不單單是因為他在難看到 極點的『X戰警:金鋼狼』中飾演一個無足輕重的多嘴傭兵, 更是因為他在『綠燈俠』中飾演主角,這套重量級失敗的電影 令整個角色成為毒藥並且完全看不見成為可銷售角色的美好前 景。所以當他跟死侍的制作人們搭線超過10年後成為主角,而 電影獲得空前成功、角色深受影評人們和觀眾們喜愛的時候, 它並不只是一個驚喜。 從各方面來說,死侍跳脫了超級英雄電影的風格:他不像DC 那些往常逗趣、醜陋、或過分認真的英雄,亦不似漫威電影宇 宙裡那些過分人性化的英雄 – 死侍絕對是非同一般的。最明 顯的是這套電影是限制級的電影,讓超級英雄電影流於和『醉 爆伴郎團』一般。 除了人們本身對漫畫的喜愛和對Reynold之前的多次滑鐵盧令 電影受人矚目之外,那是態度讓電影成功了。確實不是每一個 玩笑都能成功逗人高興,最悲慘的亦只不過是另一套空無一物 的超級英雄電影和一個容易被遺忘的壞蛋英雄 – 但是它的搞 笑成分和信心足以讓每個觀眾為之而傾倒。

Arrival Denis Villeneuve may not be a name you recognize but for the past five years or so he has consistently made some of the best, most thought provoking thrillers from Enemy to Sicario and now his cue-de-grace: Arrival. Playing out as a sort of thinking man’s Independence Day, Arrival asks the question: What if our inevitable alien invaders didn’t want to annihilate us, but talk to us? The answer comes in the form of a college professor of linguistics, Louise Banks, who is asked to interpret the alien language and to figure out what their purpose on Earth is after 12 alien spaceships land on Earth. There is an awe-inspiring quality to the way Arrival shows off its squidlike alien creatures. While it doesn’t have the budget of something like Interstellar, it frequently took my breath away simply by intelligently playing with the narrative structure of the film, slowly but surely showing its hand as Louis becomes more intimate with the mysterious aliens. It’s helped by a fantastic score by the Danish/Icelandic composer Johann Johannson, whose enigmatic combination of whale songs and thunder strikes, adds greatly to the ominous atmosphere.

『異星入境』 說到Denis Villeneuve,你未必認得出他是誰,不過他卻在 過去五年穩定的拍了不少引人深思的恐怖片注入『雙面危 敵』、『毒裁者』和現在給予人會心一擊的『異星入境』。 作為『天煞•地球反擊戰』的睿智版本,『異星入境』向我 們發出疑問:假設這些不能避免的異形入侵者並不是想要攻 陷我們而是想跟我們對話?答案的解答在12艘異形飛船降落 地球後,被委派去解譯異形語言並找出它們企圖的大學語言 學教授Louise Banks提供。 『異星入境』所呈現在觀眾眼前猶如魷魚本的異形生物令人 讚歎。它本身沒有如『星際啟示錄』一樣的預算,卻能夠輕 輕鬆鬆的利用直述結構表達Louise跟異形生物越發親密的過 程,讓人驚喜。音樂由丹麥及冰島作曲家Johann Johannson操刀,將鯨魚的歌聲混合雷擊的聲音構築成更具深度的 氛圍。

Arrival (2016), Lava Bears Films. Directed by Denis Villeneuve,

Going further into the intricate details of the plot would be the crime since Arrival’s big twist is one that seriously made me question the way we make films today. It’s a twist which hasn’t seen an equal since The Sixth Sense. The alien menace quickly becomes a framing device for a courtroom style drama about the importance of open borders and civil communication between nations. Where other alien invasion films such as Independence Day and Pacific Rim see the cooperation between nations as a given in the face of an outside threat, Arrival takes that idea into serious question. It ultimately shows mankind as a creature capable of brilliance only held back by its unwillingness to show trust in others. In a year where hatred, fear and xenophobia has ruled the day in politics, that’s a message we should all think about long and hard.

如果我再深入形容更多電影場景,那就是我的罪過了。『異 星入境』裡面有一個情節大逆轉令我不得不慎重思考我們今 天制作電影的模式。那個逆轉的厲害程度自從『鬼眼』之後 從未有過。 電影中異形生物的威脅迅速成為了多個國家之間思考開放國 境和公眾溝通的催化劑。當其他電影如『天煞•地球反擊 戰』和『悍戰太平洋』將國家之間的合作詮釋為有外敵來襲 的必然後果時,『異星入境』將問題提升到另一個層次:人 類雖然擁有高度智慧並可以不斷進化,但對於他人的不信任 卻拖了後腿。我們需要深刻思考的是:政治是否已經將憎 恨、恐懼和仇外情緒等等化為鬥爭的工具。

Arrival (2016), Lava Bears Films. Directed by Denis Villeneuve,

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Garde Magazine #29  

Themed, bi-monthly and bi-lingual. The 29th issue of Garde Magazine brings you a whole brand new experience.

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